The Four Bitchin' Babes present "Hormonal Imbalance"

CityStage, Springfield, MA
www.citystage.symphonyhall.com
by R.E. Smith
through March 13, 2010

Continuing what seems to be an unofficial "gender based" show theme at CityStage, "Hormonal Imbalance" provided one of the best evenings of entertainment this season. Despite the title, this show was a perfect "balance" of humor, storytelling and musical craftsmanship. The four immensely likable, relatable "babes" whipped up a sparkling concoction that was equal parts Indigo Girls, "Sex and the City" and "Weird" Al Yankovic. Modern folk, girlish confiding and pointed parody added up to a surprisingly well-rounded performance that tickled your funny bone and touched your heart.

From the opening harmony of "Oh, No," which laments the scattered forgetfulness of middle age, it is clear that these are very talented women - accomplished musicians and songwriters who happen to have impeccable comedic timing. Men should have no fear that this is a male-bashing session. The ladies love their "man-babes" and the focus is frustrations life, not the male gender.

To be sure, the draw for the show is the humor, with song titles such as the "Boob Fairy," "Hot Flashes" and "Elastic Waistbands." Some of these observations on the female condition had the audience literally gasping for breath. While not all the songs are humorous, they are all life affirming.

Each babe is given her moment to shine and display her considerable, multiple, musical chops. Debi Smith is a five-octave soprano who also plays the Bodhran (Irish drum). She skewers her own talents by releasing her "Inner Diva" then takes your breath away with her powerful song about parenthood. Deidre Flint, puts her stand-up comedy background to good use on "Cheerleader" and "Here Comes Metric," using impeccable delivery and timing. Sally Fingerett is an accomplished pianist when she isn't raiding her cupboard for "Chocolate." Her strong folk storytelling roots are the most evident. Nancy Moran, a respected Nashville talent, tells it like it is, explaining there is "(No Such Thing As) Girls Like That." She personified the best girlfriend everyone wishes they had.

Despite some turns toward more traditional musical styles, the quartet sends everyone home laughing. Audience members leave the theatre feeling they know these women and hoping for the opportunity to sit down and "dish" with them again.

Men Fake Foreplay

Men Fake Foreplay
City Stage, Springfield, MA
www.symphonyhall.com
through January 31, 2010
by R.E. Smith

"Men Fake Foreplay" is neither as simple nor as crude as the title might suggest. In fact, this witty, funny and insightful show is actually quite complex. Emmy award winning comedian Mike Dugan is an affable and candid performer who has set out to win our trust with humor and then teach us a few lessons. Since the lessons are about men and relationships and sex, we get the pleasure of laughing heartily while taking our medicine. Dugan has created a hybrid show designed to examine the seemingly irrational motivations of men.

"Foreplay" is part monologue because of the autobiographical nature of the material and Dugan's sometimes-surprising revelations. The thread that ties the insights and humor together is the story of his personal journey. He reports that in the past he didn't have relationships because "all of my training had been in casual sex". There's also a motivational aspect, as Dugan lays out the path he took to overcome his failings. This includes such insights as the fact that, like the sports men love, "Our feelings are on tape delay."

There's a bit of one-man play present in the structure, because Dugan touches on characters in his life with effortless mimicry, whether putting a dirty spin on "It's A Wonderful Life" or speaking in the vernacular of his childhood friends. But, like a stand-up show, there are bawdy, laugh out loud moments. Dugan reports that, "Women peak at age 40. Men peek at whatever they can."

The performer has some things he is truly upset about, especially the current culture of "playas" that profit from the degradation of women, and his keen observations of social norms and hypocrisies calls to mind George Carlin. Like Carlin, Dugan has a first class mind with an R-rated vocabulary.

"Men Fake Foreplay" is a unique and worthwhile evening's entertainment. Some men will "get it", some men will learn from it and both their female companions will laugh knowingly.

Til Death Do Us Part/Late Night Catechism 3

CityStage, Springfield, MA
www.symphonyhall.com
through November 15, 2009
by K.J. Rogowski

CityStage's "Late Night Catechism 3" confirms what most audience members already know: nuns are really funny people. This one woman show featuring Kimberly Richards as everyone's archetypal nun, has the theatregoers participating and laughing out loud from the moment she steps on to the stage and brings the entire house to a respectful hush with just "that look." And from there it's all down hill for those who are late for class, rustle papers when they should be paying attention to Sister, talk among themselves or, (perish the thought), chew gum in class! Evil doers beware, there's a Nun on the loose, and she's got your number!

The keys that make this show such a roaring success are: one, it is a classic flash back for anyone who ever stepped foot in a fifth grade classroom complete with pop quizzes, stern looks and reprimands for every and any offense, or misstep. Second, it is as much stand up comedy as it is a play, with Richards using local towns and current events as part of the act, having ongoing interaction with the audience and having a witty quip for every interaction. This Nun is "working the house" like a pro while reminding her audience that she is, indeed, the person in charge in this classroom. "You will sit up properly and pay attention and you will laugh." For those who can rise to the occasion and actually quote chapter and verse from the Baltimore Catechism, there just might be an appropriate, yet modest reward. So, for those up for an evening of divine audience participation comedy just say "Yes, Sister," and move to the front of this comedy class for laughs.

Girls Night Out: The Musical

CityStage, Springfield, MA
www.symphonyhall.com
through October 25, 2009
by Sharon Smith

The "girls" in the audience of "Girls' Night Out: The Musical" want to have just as much fun as the title implies. Five 40-something friends gather to celebrate the milestone of one of their daughter's engagement. Drinking and karaoke ensue. That the audience comes prepared to party helps create moments filled with laughter and sing-alongs.

"Girls' Night" borrows elements from many sources: "Carousel", "Desperate Housewives", "Mama Mia" and "Sex and the City." The girls reminisce, dish, snipe, gripe and, of course, dance to anthems like "It's Raining Men". The show has a loose, improvisational feel that gives the effect of ease dropping on a drunken bachelorette party.

Kira Galindo, Laura Saenz and Debra Toscano had wonderful voices. Toscano had an especially effective interpretation of "Don't Cry Out Loud". Priscilla Fernandez was often reduced to the role of cheerleader, cajoling the audience to get up and sing along. The female-centric crowd did want to join in, but seemed a bit stifled by the conventional theatre seating.

No prompting was needed for the audience to fully invest in Christina Cataldo's emotionally powerful version of "The Love of My Man". After her scorching performance of this potent song, the audience would have happily listened to her sing about the contents of her purse. She also proved a deft physical performer, breaking out some funky dance moves and high kicks.

It seems, however, that show doesn't seem to know what it wants to be: a cabaret, a musical review or a play with karaoke moments. Some characters are played over the top, others are rather mean spirited at times. The author creates a serious, revelatory moment to explain these traits, but when a show is billed as "hilarious" it only serves to cast bring everybody down.

However, the energy and talent of the performers is enough to carry the evening. The song selections are varied and amusing and the "girls" deliver some funny lines with great timing. Go for the camaraderie and to enjoy some very talented singers. They earn their "one more time!" at the curtain call.

Mother Load

CityStage, Springfield, MA
through April 19
by R.E. Smith

Who knew parental guilt could be so funny? "Mother Load" spins 75 minutes of genuine laughs around a single notion: "as a mother I am an utter failure." Since every parent has probably had that thought, it is gratifying to see the internal monologue hilariously played out so that one can nod along in agreement.

Betsey Stover was an endearing, identifiable and fearless performer. If you didn't identify with her character Amy's messy living room set, you had to find some common ground when she lamented the condition of her midsection and dejectedly showed it off. She was equally adept with verbal and physical comedy, rapturously enjoying her first child-free exercise class one moment and then skewering a pompous pre-school screener the next. Her vocal delivery of a grandmother's simple assessment of a baby's constant crying was priceless.

Amy Wilson's script is a transcript of common truths that mothers share over frazzled cups of coffee. Pestered by the disembodied voice of "experts" on such topics as "sippie cups of death" and "interpretive dance for toddlers," this "everymom" is confronted with naysayers at every turn. While some one-person shows would grandstand with maudlin asides, Wilson wisely understands that laughs are far more therapeutic.

Julie Kramer's direction keeps the laughs coming fast and their aim is true. The synergy between writer, director and performer is evident in a segment when Wilson realizes that she actually got to sleep through the night. Mom's reaction to even this happy circumstance can have guilty consequences. The moment is fresh and real.

It should be noted that this reviewer was one of only a dozen males in an audience of females, but that in no way detracted from the enjoyment of the material. Certainly some of the most hilarious bits were female-centric: breast feeding support groups that offer no support at all or how easily it is to deviate from your "birth plan" when the pain of childbirth sets in. But the fear that one isn't living up to "best" parent standards crosses gender lines. "Mother Load" is like a big hug that helps a parent know that one is not alone.

Altar Boyz

City Stage, Springfield
Through March 22
Review by R.E Smith

If shows like "Phantom" or "Company" are a piece of rich, devil's food cake then "Altar Boyz" can only be compared to a light, fluffy piece of Angel food. The latter makes a tasty dessert, but it isn't quite as filling or substantive as the former.

Like a good sitcom premise, the show can be summed up in one line: Catholic boy band. Matthew, Mark, Luke, Abraham and, um, Juan were brought together by the Almighty to spread his word through "rhythm and rhyme." The performers are all hard working and some are successful at showing hints of humanity behind their stereotypes. Philip Drennen, as the group's sincere, sensitive leader, kept things grounded in his own earnest reality.

A real stand out here is the choreography. The "Boyz" come across as a combination of Vegas dancers and NFL cheerleaders. Pay close attention to the "hand moves" and you'll find gang symbols replaced with signs of the cross and genuflections.

The music is certainly well constructed; the melodies cover all the pop music archetypes from power ballads to catchy dance tracks. "The Miracle Song" is a snappy rap that asks Jesus "how’d you do 'dat?" and "Number 918" finds the boys performing a melodic exorcism on the few remaining audience members who haven’t yet heard the call. Sample song lyric: "Jesus called me on my cell phone, no roaming charges were incurred, He told me that I should go out in the world, and spread His glorious word."

For those who have seen late-night commercials for CDs of Christian rock, it's clear that these lyrics are not actually that far removed from their comedic target. Because of that fact, the audience is never quite sure if everyone is harshly ridiculing the genre or gently mocking it with tender affection. It's also unsure who the primary object of ridicule is; boy bands, Christian music or Catholics in general. There are plenty of opportunities to laugh, and the 90-minute show moves along so quickly. After all, who can eat just one piece of Angel food cake?

Matt Lewis' Elvis

City Stage, Springfield
through March 8, 2009
by Eric Sutter

He was the King... he was the Guitar Man, and was a poor country boy who became a Rock idol. He hasn't left the building. Matt Lewis was raised far away from Tupelo, Mississippi but his spirit for entertainment is similar to that of Elvis. He impersonated the mannerisms, gestures and voice of Elvis extremely well -- almost eerily at times. He began his show with the featured song "A Little Less Conversation" from the 1968 movie "Live A Little, Love A Little." The song kept the memory of Elvis alive when it returned to the charts in 2002 by Remix JXL for the Nike World Cup commercial.

Dressed in the early-years style of gold jacket and black slacks with acoustic guitar, he performed a medley of early hits including "Return to Sender" with back-up by local musicians Jim Henry on electric guitar and Guy DeVito on bass. The show was fast-paced and broken up into segments of Elvis' 23 year career. The movie years featured the "Jailhouse Rock" 6240 prison uniform along with two female dancers as correctional officers. He rocked "Follow That Dream" and ventured into "Blue Hawaii" with "Rock-A-Hula." A warm "Love Me Tender" ended the set.

The '68 Comeback Special had another medley of rockin' hits such as "Heartbreak Hotel." With "Baby Let's Play House," Lewis dressed in black, flirted with the audience, and women screamed as Henry played an exciting guitar solo. "In the Ghetto" was a stand-out that brought forth a strong emotional response. He closed the first half with "If I Can Dream."

The jumpsuit Vegas years with the passionate "Burnin' Love" and "Suspicious Minds" featured the dancers in white GoGo boots and red wide-sleeved mini-skirts. "My Way" readied the thrilled audience for the Gospel sing-a-long "Amen" and the cheer down of "Crying in the Chapel." The patriotic "American Trilogy" moved the audience deeply. Matt Lewis encored with a wild "Viva Las Vegas."

Mama's Night Out

CityStage, Springfield
through January 25, 2009
Donna Bailey-Thompson

Three certifyingly funny comediennes who got to where they are – first-class professionals – by honing their craft, perform their "Mama’s Night Out" for predominantly women, but as long as men are as comfortable as women about laughing at themselves, their material is any-gender friendly.

Karen Morgan, a transplanted Georgian who lives in Maine, opened the show with a burst of amusing stories about her three young children’s speaking idiosyncrasies: because their sentences include words and phrases that embrace both their mother’s Southern and father’s Down East accents, Morgan said, "They’re bilingual." She tossed in cracks about Southern cooking: "There are four food groups – sugar, salt, fat and alcohol." As for skinny women who are a size 0, she quipped, "If you’re not big enough to have a number, don’t leave home. Eat a sandwich!."

During the next half hour, Nancy Witter kept the laughs coming. The audience learned that she’s 50, enjoys a drink, and recently married a man who is 60. She spoke of her mother who drank vodka, even when nursing, and consequently, "I had my first White Russian when I was four hours old." She blames her battle with the bulge on having an "insatiable appetite, slow metabolism, and yeast infection." As for anyone who wears a size 2, she said, "I could cook you, eat you, and still be hungry."

Sherry Davey’s comedy was the edgiest. She skewered the overuse of prescription medicine for children: "...dispensing Benadryl for hay fever in February?" She referenced the Inauguration and poked fun at President Obama’s dancing style. Her rift about the stereotypical foibles of husbands had the women in hysterics. "I look forward to being a widow: the thank you cards are already written." Following her set, all three women took the stage, swapping banter and jokes. Nancy Witter said, "An Irishman walks out of a bar. Well, it could happen!"

These three mamas met when they competed in Nick at Nite’s Search for America’s Funniest Mom and became finalists, beating out over 1000 hopefuls. They’re worthy of a return booking at CityStage.

Menopause the Musical

City Stage, Springfield
through November 16
By Karolina Sadowicz

“Menopause the Musical” might not sound inviting to most men, but it’s a hilarious musical romp that will make anyone laugh.

Set inside Bloomingdale’s, the show begins with four very different women caught up in one lingerie sale, discussing some of the small inconveniences and larger indignities of “The Change.” Relying on a score of well-known songs from the 60s, 70s, and 80s, “Menopause” brings new words to old tunes and muses on what the change means for women. The show’s opening number “Change of Life” is set to Aretha Franklin’s “Chain of Fools.” Though all the song reinventions are clever, the reluctant workout anthem “Puff, my God, I’m Draggin” had the audience in stitches. Whether it’s hot flashes, insomnia, libido, overeating, or antidepressants, the songs explore all the trials of menopause and aging with wit and self-deprecation, encouraging women in the audience to relate rather than feel embarrassed.

A professional woman played with attitude by Fredena Williams leads the ensemble in vocalizing symptoms and changes through music and humor. Williams is a standout singer who claims some of the show’s highest peaks. She is accompanied by the lithe Licia Watson, playing a vain but charming, aging soap, a hilariously dazed Pammie O’Bannon –as a hippie mom, and disarmingly earnest Sandy Dewoody as a wide-eyed Iowa housewife.

These four keep a lively pace through dance numbera that are equal parts sass, goofy miming, and unabashed hip shake. Minimal set changes swiftly and seamlessly take the ladies and audience to different floors and departments in the store, with the cast changing into silky pajamas for “Good Vibrations” – now a song about self-love - and into slinky black numbers for the show’s finale. The cast excel in singing and dancing together or solo, and make the most of ample opportunities for physical humor.

Making its fourth return to City Stage, “Menopause” is a fun and empowering musical for women of all ages and life stages, and a hilarious, eye-opening ride for everyone else.

25 Questions for a Jewish Mother

CityStage, Springfield
through March 9
By Shera Cohen

Judy Gold, star and co-writer of this stand-up comedy performance, has a Jewish mother. Judy Gold is a Jewish mother. This talented, funny woman is also 6’3” and gay. These facts are not passing tidbits of information, but are essential to the story told onstage.

Perhaps one would anticipate this latest program on the CityStage roster to be a show replicating one from Channel 98’s Comedy Central. Well, there is that, and the audience certainly enjoyed those many moments. Speaking of audience, opening night’s attendance was huge.

The voice over of a “typical” Jewish mother (from New Jersey, not the Bronx) starts the show as Judy comes onto the stage – a set with one microphone and one chair. The pace is fast, the flow from story to story is smooth, and the Jewish phrases are liberal. While she defined many of the terms, it would be curious to know if parts of her act were missed by non-Jews. The saying about Woody Allen might apply – you have to be Jewish or from Manhattan to fully appreciate him. Yet, Judy has a huge following, numerous awards, television appearances, so undoubtedly, many appreciate her. Equal in affect to the humor is her candor. Her life story becomes an open book, with the good, the bad, and the ugly. Yet, even the latter are given comedic spins.

Most impressive are the numerous segments when Judy portrays the Jewish mothers who she interviewed across the United States. That one chair is the complete set for this myriad of unique women, as Judy turns on her acting talents. Merely with accents and her seating position, Gold takes on the persona of the Jewish women, each having their own dramatic story. Perhaps a half-dozen segments are strewn throughout the act, when Judy the comic becomes Judy the actress. Indeed, these reminiscences are quite serious; i.e. intermarriage, female segregation in synagogues, and death in concentration camps. It’s these vignettes which make Judy Gold and her performance different, and much better, than even the best of television or touring shows.

"Almost Heaven - Songs of John Denver"

CityStage, Springfield
February 13, 2008
By Eric Sutter

CityStage played host to a wonderful feel-good musical theatre production with "Almost Heaven - Songs of John Denver." Songs of love and hope were nestled nicely alongside songs of open country and playfulness. The players, including Ryan Nearhoff as John Denver, sported a clean-cut whole-earth image. The choral group consisted of three men and two women and with back-up musicians on fiddle, guitar, and keyboards they conjured up a sensitive portrayal of the music of Denver.

The talented group cleverly cultivated the era's folk-rock and country-rock feeling of getting back to the basics of country living with the aid of visual images displayed on the theatre's backdrop. The males harmonized vocals on Denver's first love song "For Bobbie" to great effect. "Country Roads" shifted to a female lead voice with the others harmonized to perfection. "Fly Away" was lead by a beautiful female voice and a carefully balanced arrangement of supportive vocals with a ministerial tone. "Rocky Mountain High" created a comfortable image of rural utopia as the Rocky Mountains flashed in the background. Edgier emotions emerged as the singers tackled the love and war-themed "Matthew/Weapons." The first half ended with the ecological dream song "Calypso," with its high yodel set against images of the sea.

The second half started with a rousing "Thank God, I'm a Country Boy" and a playful "Grandma's Feather Bed" with some fine harmony singing and dancing. The "Love/Leave Medley" featured "Back Home Again" vocally interwoven with "Leavin' On A Jet Plane." "Sunshine on My Shoulders" showcased the powerful gospel voice of female vocalist Vernae Taylor as a sunny-scened backdrop lightened the stage. The classic "Poems, Prayers and Promised" closed the evening. A short film clip of John Denver singing "Yellowstone" at a campire followed, after which the cast sang an encore of "Rocky Mountain High."

"Sister's Christmas Catechism"

CityStage, Springfield
Through December 2
By Bernadette Johnson

Words prove inadequate to describe just how entertaining this production is. It’s one of those "you-had-to-be-there" shows. You don’t even have to be Catholic or “in recovery,” but if you are, Sister is sure to stir up more than one memory of your Catholic school days and provide fodder for many "tales told out of school." Yes, public schoolers, most of those stories you’ve heard have at least some basis in reality.

There is a set script, hilarious in itself, but spontaneity reigns. Mary Zentmyer brings wit and wisdom to the role and has an uncanny knack for catching members of the audience, make that her classroom, behaving badly. Classroom etiquette is de rigeur. Gum chewers beware. And keep those hands out of your pockets. There are consequences to pay for misbehavior. But then, there are also the holy cards ("baseball cards of the Catholic Church") and other "holy" trinkets to reward right answers. There are even pointers on what to buy (and not buy) nuns for Christmas, any perfume bearing Elizabeth Taylor’s name being particularly taboo.

Hilarity reigns in the second half of the show as Sister recruits, then dresses audience members for a Nativity tableau unlike any other. Much of the fun is due to the willingness of "volunteers" to laugh at themselves and allow Sister to bedeck them in shower curtains, lampshades and other makeshift costumes for the pageant. And let’s not forget Sister’s fascination with "Forensic Files" and her determination to find out what became of the Magi’s gold.

Yes, here is the Christmas story like it has never been told, and, hopefully, Sister's brief visit will become a holiday tradition at CityStage.