The Capitol Steps

CityStage, Springfield
March 26, 2008
By Lauren Duquette

The Capitol Steps provided a hilarious evening of over the top political satire on every current political scandal. Songs like "I'm So Indicted" and "God Bless My SUV" to "The Impossible Dean" gave the much-appreciative audience tons of belly laughing comedy in between.

Produced by Elaina Newport and directed by Bill Strauss, the antic-filled program was cabaret style at its absolute best! Capitol Steps was reminiscent of another great political satirist -- Tom Lerhrer, who wrote melodies like "Poisoning Pigeons in the Park" and "The Vatican Rag". This show was LOL from start to finish!!

The troupe began in 1981 at a Christmas party in the office of former Senator Charles Percy. Over the past 25-years they have recorded 27 extremely successful albums.

Not coincidentally, many of the performers have actually worked on Capitol Hill -- some for Republicans and some for Democrats and some who sit firmly on the fence.

Basically the formula for their show starts with a well known tune that has nothing to do with politics. Next, one of the cast members inserts some hysterical ideas, and the next thing you know the audience is listening to a familiar song with screamingly funny lyrics.

For those who missed Capitol Steps, here's hoping they will be back. It was a great time in Springfield at CityStage. A fabulous show!

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."

“My Sister’s An Only Child”

CityStage, Springfield
Through January 27
By Shera Cohen

Steve Solomon’s “My Sister’s An Only Child” is the stuff that the Comedy Central network is made of, yet perhaps a little cleaner and more wholesome. Special to CityStage is that this show is a world premiere. Solomon’s last production, also at CityStage, has run off-Broadway for 500 performances. Who’s can predict if this will be a repeat of that success? Based on the audience reaction, it probably will be.

Solomon ended his 90-minute, no-intermission stories by answering two questions that are often asked of him. First, did he write the material? “Yes.” Second, is it true? “Unfortunately, yes.” The negative yet humorous response refers to the saga of his own life and that of various family members: mom (Italian), dad (Jewish), sis (chain-smoker), cousin (dim whit), ex-wife (dictating), and dog (flatulent).

Vocal tricks are Solomon’s gift as he replicates numerous sound effects, accents, and voices of men and women of all ages and ethnicities. He throws these tricks in throughout the act. While starting slowly with very clean humor, he escalates in speed and tended toward PG ratings. In fact, one of his stories relates to movie ratings, which he didn’t understand as a child. He told his aunt that P was pretty good and X was excellent, so she took him to an X-rated movie.

It’s so hard to remember the funny lines, but a few stick out; i.e. “I tried on a Speedo. I’m well over the Speedo limit.” A long bit was his embarrassing story of purchasing feminine products for his sister. “Do I go with the wings or without?” Another story was about his gigs on cruise ships and their tiny bathrooms. A fourth was a reminder that airline travel with babies is not a fun experience.

The show is a stream of personal funny stories and jokes. Some of the latter are not new. Most are. Solomon’s life experiences made many shake their heads with the expression, “That’s so true; that’s my life too.”

"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.

“Shout! The Mod Musical”

CityStage
through October 21
By Barbara Stroup

“SHOUT ! The Mod Musical” opened at CityStage to long and well-deserved ovations. President Cynthia Anzalotti chose this colorful celebration of the ‘60s show to mark the beginning of the theatre’s 10th anniversary year.

Five amazing ‘girl’ singers populate the stage throughout the no-intermission and high-energy production - they are named only by the colors they wear. These talented performers bring just the right sensibility to the production’s 30 songs of London’s mod ‘60s as they sing in solos and in varying ensemble combinations. Director Jay Falzone’s choreography never overtakes the music and none of the songs go on too long. Four decades later we hear a sameness to these rhythms and orchestrations, but the production’s volatility overcomes it. These athletic performers are having fun with the music and although it took a while, the audience soon caught on to the humor.

Weaving these songs together into a coherent whole are a few recurring plot substitutes – a large “SHOUT” magazine reveals the year on its back cover and gives the girls insights into mod culture. Off-stage, advice-giving voices preach put-down answers to universal relationship questions.

While referencing the best of mod London’s music, the production refuses to take the ‘60s too seriously. In fact, the lyrics are often mocked by literal stage movements – ecstatically so in one case. One-liners delivered in the style of television’s “Laugh-In” give us even more opportunity to laugh. One awkwardly serious moment comes up toward the end; it reminds us what happens to some women in every decade behind doors that hide the abuse of power and violence. But the mood quickly turns light again with a nostalgic “Those Were the Days,” and the audience sings along until the show’s terrific finale and curtain calls.

This reviewer would love to have seen this production with live musicians. These talented women deserve the opportunity to interpret the songs beyond what’s available with a pre-mixed, back-up recording. First night glitches in the sound and miking will surely disappear. For an ensemble that probably saw the theatre for the first time that afternoon, Wednesday night’s opener looked polished and practiced. Anzalotti greeted the audience like old friends who all seemed happy to be kicking off a new season at CityStage -- “Downtown!”.