Raul Zambrana's World

* BROADWAY SHOW REVIEWS *

When going to see a Broadway show in New York, I recommend getting your tickets at the TKTS booth in Times Square. However, a "top of the line" show such as "Jersey Boy", "Wicked", "In the Heights" and some limited engagement shows might not be available. There is certain decorum everyone must follow. Here is what you need to know...

TKTS - Broadway Tickets Discount Booth

Duffy Square (Times Square)
New York, NY 10036
(212) 912-9770

1. Be ready to wait in line; which means, bring a book, magazine, Ipod or something to entertain you. In addition, weather can change while waiting. Watch the weather report and bring proper attire and accessories as needed (i.e. umbrella, hat, coffee, gloves...)

2. Arrive at least an hour before opening time. I arrive at 2pm for a 3pm opening on a Friday and it was more than enough time. A line forms at each side of TKTS and meets in the middle. A word of advice, before you get in line, look at both sides of TKTS to see which one is shorter.

However, another option is to follow fellow Yelper Sam P's advice: if you are not up to seeing any show in specific, go around 7 to 730 pm and get what's leftover. But if you want a show that is in limited engagement, I suggest being in line early. As for me, we got tickets for Pal Joey center seat and 10 rows from the stage. They only had 50 available that day!

3. Choose your top 3 to 5 shows, in preferential order. The list of shows for discounted sale are available and posted in the electronic board (one on each side of TKTS) about 20 to 30 minutes before opening. Write them down in case a problem arise such as no seats, not enough seats for your party, not enough money, etc. That way you can make a decision quickly and keep the line moving.

4. Do not expect the TKTS tellers to spend time telling you if it is a good or bad seat, show you a seat map or play with multiple shows to see which one has a better seat. They will get annoyed and will tell you so. Some even will tell you to move out of the line till you make a decision, New York style. If they have tickets for the show that you want, pay for them and go. However they will tell you if it is an "obstructed view" seat which at that point you can decide o buy it or move on to your next show option.

5. HAVE ENOUGH CASH OR A CREDIT CARD TO PAY FOR THE TICKETS. Even though the big news here in New York a few months ago was that TKTS now accepts credit cards, it is up to the show's producers to allow credit card sales. In our case, Pal Joey tickets were available for cash only! Between my friend and I, we had to dig into our wallets. We did come up with the money but so much for credit card sales! Do bring enough cash just in case you choose one of those shows.

6. When you get your tickets, check them quickly and ensure it is for the show you want. Once it is all correct, move out of the way and go.

My only two complaints (hence the lost of one star): The TKTS personnel that keeps the line moving, needs to do a better job at doing so and keep people organized. There are 8 booths and both lines, when merging into this area, seems to be a free for all. Would be nice if they assign you a window (they have big numbers on top) and get in that window's line.

In addition, the opening/slot at the TKTS windows are too small you can barely pass a pen, a credit card or money through! You have to ensure each bill is completely flat and pass them through the tiny little hole one by one... why didn't they add drawers like bank tellers have or even gas stations? Very inconvenient!

However, 50% off or even more if you wait till 730pm, is a bargain that will make the complaint above rather minuscule.

If everyone follows the instructions above, we all be guaranteed to make the TKTS experience a good one.

GYPSY - THE MUSICAL

246 W 44th St
New York, NY 10036

I first went to see Gypsy when it opened at the "Encores!" series at the New York City Center. The success of this performance is what brought Gypsy to a "long-limited" engagement to Broadway.

Patti LuPone, of course, is fantastic on the role of Mama Rose. Her voice carries very strongly and convincing; with her character taking over and becoming truly Mama Rose. There is not a bad note coming out of her voice as well as her acting skills are just amazingly superb!

The rest of the cast is pretty good as well, shining in their own ways. However, the energy and light truly shines when Patti Lupone is on stage. Sadly, it seems that the decorations, staging and costumes are the same from the Encores! Series, thus not being what we are used to from a full Broadway show.

I would write more on my review. However, it was just announced, via the New York Times, that Gypsy will be closing months ahead of schedule. It is now set to close January 11, 2009. Here is an excerpt from that article:

"Add "Gypsy" to the growing list of Broadway shows that will shutter in January as a result of the faltering economy. The production, which led to Tony awards for its stars Patti LuPone, Boyd Gaines and Laura Benanti, will play its final performance at the St. James Theater on Jan. 11, its producers announced on Sunday. "Though we originally announced that "Gypsy" would play its final performance on March 1, 2009, due to these uncertain financial times my partners and I have made the difficult decision to close instead on January 11, 2009," said Roger Berlind, one of the show's producers, in a statement.

For the week ending Dec. 7, the show filled just over 64% of the seats, and the week before was at less than 52% capacity. Come Jan. 11 the musical, directed by Arthur Laurents with a book by Mr. Laurents, music by Jule Styne and lyrics by Stephen Sondheim, will have played 27 previews and 332 regular performances.

"Gypsy" is the latest theatrical casualty of the bleak economy but it is certainly not the only one. With many other shows recently announcing closing dates in January, early 2009 is looking to be a grim time indeed on Broadway. Among the other shows that will soon end their runs are "Young Frankenstein," "Hairspray," "Boeing-Boeing," "Grease" and "13," all closing on Jan. 4; "Spamalot," which will play its final performance on Jan. 11; and even "Spring Awakening" which, despite winning eight Tony awards in 2007, will close on Jan. 18."

AUGUST: OSAGE COUNTY

Imperial Theater

249 W 45th St
New York, NY 10079

Coming straight from the Steppenwolf Theatre Company in Chicago Illinois, August: Osage County takes place in the home of the Weston Family, a large country house outside of Pawhuska, Oklahoma, 60 miles northwest of Tulsa. The family comes together in the news of the family patriarch, Beverly Weston's disappearance. A total dysfunctional family, each member has to deal with their personal as well as family issues through the days they spent together in the house.

The play contains major twists and turns that keeps you guessing; as well as humor that is serious in the light of the play, yet keeps you entertained. Each character grows through the play, going through a metamorphosis in the 3.20 hours show with two 10-minute intermissions.

There is so much to be said about the show, yet I don't want to give the family "secret jewels" away. In a nutshell, the whole family has issues, like any other one. The mother, Violet Weston, has issues with her husband and each one of her three grown daughters separately. Each one of them has relationship issues of their own. The oldest, Barbara Fordham, has to deal with her marital problems to Bill Fordham and her pot-smoking daughter, Jean Fordham. The middle child, Ivy Weston, has a secret relationship and the third, Karen Weston, is in a cloud over getting married to Steve Heidebrecht. Then add to the mix the mother's sister, Mattie Fae Aiken and her husband Charlie Aiken and somewhat slower son Little Charlie Aiken who plays a very integral part to the show.

Sounds confusing? It does on paper. However, from the moment the performance starts, each character is so well developed that you can follow every characters' plot line to the end. The writing by Tracy Letts is one of the best, if not the best, that I have seen for any show. The major accomplishment for a great writer is when the audience loudly reacts with, not just laughter at every joke, but the "oohs" and "ahhs" when a new secret is revealed, creating a completely new twist that keeps us in the edge of our seats. Tracy Letts kept the entire audience entranced to the ever-changing plot and the three-hour show went by too quickly.

Deanna Dunagan (Violet Weston) and Amy Morton (Barbara Fordham) gave a performance that it can be described as "better than perfect". They both played their roles so well that the audience does forget for a moment that we are watching a play. Instead, it feels like watching a real-life drama developing right in front of our eyes.

In the second act, there is a family dinner scene that does demonstrate how well each character is developed. This was my favorite scene of the play. At one point or another, most of us in our lifetime have had one of those dinners either with our own family or as a guest to someone else's family (which is more fun to watch). The conversations, jokes, interaction and speeches that everyone makes at the dinner table does reflect their own personality as well as part of the whole of the family; and at one point or another, we all find one of us at the table!

Of course, the director, Anna D. Shapiro, has to be given much credit for the show. From staging, to lighting and costume designs, the show comes perfectly together. The show makes you feel every state of mind, feeling, time of day or night, emotion, and most importantly, somehow, each one of us can find a moment in this family life or character we can relate to.

The staging of the show is just fantastic! It is a two-story house with an attic. Each room is well divided within each floor. The dcor of the staging is just perfect. The lighting brings you to the attention to the time of day/night, as well as to the room where your attention needs to be directed to. The lighting direction is well manifested when the brightest room is where the main action of the scene is happening, while in some of other rooms the lighting is well dimmed that you focus on the attention of the brightest room, but still notice the little action that is happening in the rest of the house. Some scenes, specially the last one, takes place in the attic. For this reason, I do recommend to get a seat in the front-mezzanine level if possible. If you are going to buy tickets in the orchestra level, don't pass row "O" or too far front row G. If you are seated farther than row "O" in the orchestra level, you will not be able to see any scene above the second floor; missing important parts to the play. Too far front, your neck will hurt the next day.

I do recommend seeing this show more than any other one. After the show, you will be talking about it for weeks to come.

BOEING-BOEING

Longacre Theatre
220 West 48th Street (Between Broadway and 8th Avenue)
New York NY 10036

Winner of a Tony for "Best Revival of a Play" as well as Tony nominations for "Best Costume Design", "Best Sound" and "Best Director", Boeing-Boeing is one of the funniest shows I've seen in a very long time. From the moment the show start, you will be laughing till the very end. The cast is amazingly good.

Without giving too much, the shows takes place in an apartment in Paris, where Bernard, an architect, is dating 3 international flight attendants, and engaged to all of them at the same time, A friend from the USA, Robert, comes for a visit and gets caught in Bernard's situation... with a very critical French maid, Berthe, the life in this apartment is nothing but dull. Bernard's life unravels in front of his eyes and tries to stay 'sane' with the help of Robert. And Berthe, is the 'real' person of the show who refuses to get caught in the whole mess.

Greg Germann (Ally McBeal) plays the role of Bernard a mischievous character of the "player" who dates the 3 flight attendants at the same time. Mark Rylance, winner of the Tony for "Best Performance for a Leading Actor in a Play" is the shinning star of the show in the role of the shy Robert.

The 3 flight attendants, Kathryn Hann (New Yorker - TWA), Gina Gershon (Italian - Alitalia) and Missi Pyle (German - Lufthansa), do an excellent job in their roles. And for those of us who fly all the time, they remind us of one flight attendant we have seen in our "flying" lifetime. And what a great job with their accents too!!! Finally, Christine Baranski plays the best sarcastic French maid there is.

Highly recommend this show for the wittiest, funniest and well acted show I've seen in a long time.

EQUUS

Broadhurst Theatre
235 West 44th Street (Between Broadway and 8th Avenue)
New York NY 10036

A fantastic staged, excellent acting, superb direction, amazing script and a great produced show that will leave you thinking (and a little depressed) after it is over.

Daniel Radcliffe plays the character of Alan Strang, a 17 years old teenager, who comes from a very dysfunctional home with some mental issues. He is referred to Dr. Martin Dysart, played by Richard Griffiths, after committing a heinous crime and Dr. Dysart has to figure out what happened and why. The support cast is fantastic as well. And seeing "Harry Potter" naked....

Music, lighting and staging design are fantastic. The stage is a simple dark design. You feel like you are looking into a barn/stable. The center of the stage is raised with 4-blocks that are moved around to create the room or place that the scene is taking place at. As an audience member, you need to pay very close attention to the dialogue. This is what indicates and leads you the location, place and time of the scene.

The music and lighting plays a very important role in the action as well. Not just helping you understand the time and place of the scene, it does help you understand the mental stage of the characters, specially of Alan Strang.

When Dr. Dysart seems to run into a brick wall in understanding his patient mental state, the support cast, specially that of the parents, Frank and Dora Strang, (T. Ryder Smith and Carolyn McCormick) appear on stage to help you clear the cloud over the Doctor's head.

Alan Strang's lawyer and Dr. Dysart's friend and confidant, Hesther Soloman (Kate Mulgrew) plays a very important role. It seems that she is the only person that Dr. Dysart talks and vents his emotions with as we get to understand that in Dr. Dysart's own home and marriage relationship is rather non-existent.

Finally, the cast that plays the horses, do a fantastic job at it... and walking on those high metal frame shoes... that gets a Tony alone in my book!

Believe me, it is a very 'disturbing' story line that will leave you talking about it for days afterward. I do not recommend the show for anyone younger than 16 yrs old as it deals with mature and adult, sexual content.

I think this show is going to be nominated for a few Tony's next year; and I will predict it most likely win a few as well.

The EQUUS cast and production team:

By Peter Shaffer; directed by Thea Sharrock; designed by John Napier; lighting by David Hersey; sound by Gregory Clarke; movement by Fin Walker; production stage manager, Susie Cordon; general manager, Joey Parnes.

At the Broadhurst Theater, 235 West 44th Street, Manhattan; (212) 239-6200. Through Feb. 8. Running time: 2 hours 40 minutes.

WITH: Richard Griffiths (Martin Dysart), Daniel Radcliffe (Alan Strang), Anna Camp (Jill Mason), Carolyn McCormick (Dora Strang), Lorenzo Pisoni (the Young Horseman/Nugget), T. Ryder Smith (Frank Strang), Graeme Malcolm (Harry Dalton), Sandra Shipley (Nurse) and Kate Mulgrew (Hesther Saloman).

PAL JOEY

Started Previews - November 14, 2008

Opening Night - December 11, 2008

Closing - February 15, 2009

Studio 54
254 West 54th Street
(Between Broadway and 8th Avenue)

From the Pal Joey website: "Set in Chicago in the late 1930s, PAL JOEY is the story of Joey Evans, a brash, scheming song and dance man with dreams of owning his own nightclub. Joey abandons his wholesome girlfriend Linda English, to charm a rich, married older woman, Vera Simpson, in the hope that she'll set him up in business."

This is a revival from the 1940's show originally played by Gene Kelly. Currently in previews, the official opening night is December 11th. It is a limited engagement run until February 15, 2009 at the old Studio 54.

When I got to the theater and took a seat, I felt quite a vibration underneath me. The theater is located above one of new York's subway lines and every few minutes you do feel your chair rattle a little... For the Broadway fans, we do know for a fact that most theaters' leg room can be rather small, squeezing the rows closer and closer to get more chairs in. However, I do have to say, I was rather surprise with the leg room of the theater. I could actually stretch out quite a distance and did not have the usual leg cramps by the time the show was over.

The set design, done by Scott Pask, is quite nice. The background set is a street in Chicago's Loop with an elevated "L" train track. The stage changes are well done; going from a bar, to an apartment to a diner, to a street... Staging floors move on both sides of the stage as well as from the back to the center-front of the stage, and the usual drops from the ceiling. Mr. Pask did capture the 1930's furniture and design brilliantly.

The costume design is absolutely fantastic. Done by William Ivey Long, the suits, dresses and dancers costumes are just beautiful, specially the dresses worn by Vera Simpson (Stockard Channing), with a lot of spark and well (some very tight) fittings.

However, here is why I gave it a 3-star...

For the first few minutes of the show, Joey Evans, played by ex-Jersey Boy Christian Hoff, dances around in what it seems an eternity without signing a single lyric... It did seem a little silly and did not help set the show very well. It might have worked well for Gene Kelly, but did not for Mr. Hoff. Sadly, at some points it did seems that Mr.Hoff had two left feet. I don't think dancing is one of his strengths.

And then, when he started singing, I don't know if there was a problem with his voice, but it was cracking, out of tune and could not sing as well as it is expected from a Tony winner. His acting skills were his saving grace; carrying the character of the ambitious Joey Evans well though the entire show.

Stockard Channing, as expected, shines excellently in her acting of the rich, manipulating and clever Vera Simpson. I do have to giver her major credit for going up and down circular and narrow stairs that run from the top to the bottom of the stage in high heels and tight dresses. However, her singing, not as bad as Christian Hoff, could have used a little bit more training and warm-up as well.

The real star of the show is Martha Plimpton. She does an amazing job in the role of the aging night club singer Glady Bumps. Ms. Plimpton should be the one who gets credit for carrying the plot and story line all the way through. You feel her emotions, ranging from hate to distress to anguish. Ms. Plimpton's acting should get her a Tony nomination, at least.

The support cast is very good as well. Jenny Fellner, who plays Linda English, has an important role on the show as she is the cathartic character who bring Pal Joey to his senses. Robert Clohessy, in the role of Mike, has to deal with balancing two roles in his life: a tough manager of a successful night club while hiding his homosexuality to the world; a taboo subject for an original 1940's show.

The dancers are fantastic with what it seems non-stop and back-to-back dance numbers, specially in the first part of the show. (I always wonder how they get in and out of clothes that quickly!)

I do have to give credit to the director, Joe Mantello, for doing a great revival of Pal Joey. All of the elements came brilliantly together and the hard work of his entire team shines through the whole show. I just wished it was better singing from the lead actors... there is time to be fixed before the "official" opening night.