"Far Out" (Fringe Festival) - Lorinne has enormous personal charisma, so I was happy to see that translated into talent onstage. Wearing '50s outfits, she sang and danced (and had a few lines) as part of the "Far Out" ensemble. The musical had some elements of "Toxic Avenger" but was unfortunately not nearly as good (and was miked too loud).
"Cock-a-Doodle-Doo" (Fringe Festival) - I went downtown on a rainy Saturday morning to see my cousin Rachel in this adaptation of a Herman Melville short story. I didn't want to distract her with eye contact or (worse) waving or yoo-hooing, but the theater was small and she did see me. The play's creator and star, Danny Ashkenasi, was acting up a storm and it took a while to figure out what was going on. Very simply, he's drawn by the call of a rooster (thus getting to say "cock" often - get your minds out of the gutter! It's a rooster) and things went on from there. Rachel got to use her violin skills in portraying the rooster's call, as well as acting various parts.
"Puppetry of the Penis" - speaking of cocks (OK, you can put your minds back in the gutter),.. Yup, this production has no puppets other than body parts. Still, this isn't really racy once you get past the fact that you're looking at naked men's genitals. The evening had a bachelorette/gay guy party vibe, and began with comedian Amy Schumer (who alternates shows with two other comics) warming up the crowd. Then the two "puppeteers" emerged in capes and eased us into their unveiling. Their "installations" of things like hamburgers, the Olympic torch (complete with flame) and Yoda were shown on a big screen for optimum viewing. I heard the Aussie originators on Howard Stern during the show's first run a few years ago, but this production starred two young Americans, recent conservatory grads who didn't expect their New York debut to be quite like this. Giggles galore.
"The Ghosts of Provincetown" - a double bill of the crossword-friendly O'Neill play "Ile" (a whaling captain has to decide whether to turn back and satisfy his near-mutinous crew and unhappy wife, or continue and catch enough to profit) and Louise Bryant's ("Reds") "The Game" (Life and Death battle for souls). Heavy themes, well-acted.
"Race Music" - Black classical music enthusiast LeBron is turned away when he tries to get a job as a radio announcer in a midwestern city in 1999. This seemed too recent for such blatant and illegal racism, but it's all explained with some complicated backstory. Despite the overplotting and sometimes contrived situations, I enjoyed this look inside radio and especially liked the classical music used as background.
"Tales from Rainwater Pond" - part of an Irish festival, this play was done downstairs at Irish Rep. The nice lady in the box office directed me to a young woman checking people in at the head of the stairs, who thought I looked familiar. Yes, she saw "Wordplay" and said her mother would be especially excited to hear she met me. Oh right, the play. Billy Roche ably performed two of these tales, about a woman reminiscing about her brother's drowning, and a man telling of a poignant first love.
"Spinning the Times" (59E59) - also part of the Irish festival, this was held in the smallest theater (C) at 59E59 so I now have a venue complete. "The Pride of Parnell Street" had its opening night the same night, and I heard many Irish accents in the bar waiting area (which is somewhat claustrophobic) and saw the lady from the Irish Rep box office. Turns out she's the company's co-founder and artistic director, Charlotte Moore. My show was 5 monologues by Irish female writers, based on current events. Good.
"Phantom of the Opera" - I go to the theater all the time, yet never saw this longest running Broadway musical ever. Perched in the rear mezzanine, I finally saw it. The staging is spectacular and everything is grand and schmaltzy, but my problem is I just don't like operatic voices. Still, certainly worth seeing.
"Broke-ology" (Lincoln Center - Mitzi Newhouse) - I like soul and disco a lot more than opera, and some good songs were played both before and (just a bit) during this play about a struggling Kansas City family. Several poignant moments, especially at the end.
As I left the building, I realized I should have stopped at the ladies' room but figured I could go to Barnes & Noble nearby. It was like the recurring dream where there's something wrong with every bathroom. The main one was closed for cleaning (the sign said 15-20 minutes), the one near the cafe had just 2 stalls and a line, and the one in the kids' section was supposed to be just for kids (you had to ask for the key and I wondered if I should try to bribe the salesperson). I hung around at the main one but it seemed like a long time and they were still cleaning. So I went home - stopping for groceries and pizza (take-out slices), so it wasn't that big an emergency. I made it just fine, but for better peace of mind I should have either waited on the line or waited for the cleaning to finish.
"Girls Night" - different vibe than "Puppetry..." but just as fun for a girls night out (though I went alone). The usual pre-show "turn off your cell phone" announcement was followed by one saying dancing was strictly permitted, and the disco score encouraged this. I was too shy to get up and dance except when it was strongly encouraged; if I ever saw this with my sister we'd be in the aisle the whole time. There was also a plot. I don't see why men wouldn't like this too, and a few brave ones in my audience seemed to enjoy it.
"Shrek: the Musical" - rear mezzanine again for a Saturday matinee filled with kids. Unfortunately, full-sized adults sat in front of me blocking the view slightly - but the seat was unusually comfy. Very lavish set and effects. I didn't realize until curtain call that one actor performed entirely on his knees. The cast was good, but Pinocchio was annoying and the songs were generic. I never saw any of the movies, but that didn't seem to matter.
"In the Daylight" - I failed to notice the box office on the ground floor and climbed to this 4th floor theater and then had to go back down and up again. The play was a dark (very dark) story of family secrets and murder with lots of familial yelling. The plot was a little contrived, but it worked.