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David Title

@davidgtitle

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Father of 3 children and 1 Australian labradoodle. Retired superintendent of schools & university professor. Amateur theater critic. Laurie’s husband.

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Armchair Review of “Ragtime” at @lctheater — this show is NOT to be missed. I’ve seen it several times over the years, and this performance is simply amazing.

The show ages really well. That’s great because you can see it over and over again; not great because the show’s depiction of racism, anti-immigrant hatred, white supremacy, and classism are all too real. @robintitle aptly commented that the show could be set in the present day and you would only need to change the costumes, not the script. (The show is set around 1903.)

The music and lyrics are Flagerty and Ahrens’s at their best. Joshua Henry as Coalhouse Walker, Jr. gives a virtuoso performance. @iamnichellelewis as Sarah is equal to Henry in emotional heft. Their “Wheels of a Dream” will stay with you for a long time. You will weep during this show, guaranteed.

Brandon Uranowitz as Tateh the immigrant is likewise poignant and clever, as the script takes him, Henry, and other fictional characters on a journey where they run into historical figures such as Emma Goldman (Shaina Taub), Booker T Washington (@johnclayiii ), and Harry Houdini (@roddcyrus ) among others.

The set at the cavernous Vivian Beaumont Theater is minimalist but effective. You can tell it transferred from City Center. The best use of the space was in the extended opening number where the entire large cast could perform at once in the three groups that comprise the show — the upper class white family, the Black family, and the immigrants. You can’t do that anywhere else.

The whole production is enhanced by a 28-piece orchestra. This is a must-see show. There are no bad seats in the orchestra.

Grade: A
(This grade is reserved for shows that I could see more than 3 times. Rarely given.)

#broadway
#broadwayreview by @davidgtitle

Armchair Review! On the eve of an election that might decide the fate of Neo-Nazis in this country, @laurieisms and I saw the first preview performance of a 100-minute play @blueberriesbroadway — about Nazis. This Pulitzer Prize Finalist from @tectonictheaterproject is about the true story of a photo album delivered to the US Holocaust Museum with pictures of life in Auschwitz — and no pictures of any victims. Can we display this?

The talented cast plays the role of museum curators trying to decipher the photos, so in a sense this is a detective story — who made this album? Why? Who’s in it? When? Why are these people so happy in these pictures?

The same actors play other characters—such as descendants of the concentration camp leaders—trying to come to grips with the reality that grandpa may have been responsible for slaughtering hundreds of thousands of Jews. That’s a new angle.

The most fascinating element relates to the play’s title. Who are these young women eating blueberries at a fancy lodge (in Auschwitz!) and what did they know?

A second photo album gives the victims their due. This introduces the horrors of the camp but not in very emotionally disturbing way. In fact, the play did not elicit as much emotion as I thought.

They raise the age-old question: What would you have done if you were employed at Auschwitz? Would you say no? This is not new ground.

The technical side of the production is amazing. All the photos are real. They are projected on screens large and small. (Sometimes they obscured each other.) As the second album is displayed, photos are shown through large train doors with sound effects as they close — suitable for how the victims were transported.

It’s an ensemble show so if you go to see headliners like Michael Cerveris and Montego Glover — they do not play outsized roles.

The parallels between Nazis then and Neo-Nazis now does not need yet another retelling. We know who is running the Nazi playbook today. I like the novelty of never-seen photos of life for the Auschwitz workers. Back when the play was devised, the world was different, and maybe I would have had more “aha” moments and felt more. Just me.

Grade: B by @davidgtitle

Armchair Review time! @siouziemarro and I saw the second preview performance of the reimagined “The Fantasticks” at @2stnyc on Broadway. I’d seen the show off Broadway and recall it as good not great. This version is much improved in many ways!

The show defies any specific genre. It’s a play within a musical. The score is iconic and improved with new lyrics and an 8-piece orchestra adding to the traditional piano and harp. There is a greater vibrancy and fullness to the score now. You may have heard of “Try to Remember” but so many others are keepers. One song that underwent major lyric surgery is “It Depends on What You Pay,” where repeated use of “r*ape” is replaced by “abduction” or “masquerade.” That’s three syllables where one used to be! And the choreography on that one is particularly engaging.

The reimagined plot changes the children from a girl to a boy, so the central love story is a gay one. The parents are now their mothers rather than their fathers in the original. Leslie Rodriquez Kritzer and Ruthie Ann Miles as the moms showed great chemistry even in a second preview. “Plant a Radish” is one of the my favorite numbers that they give new life to in Act 2.

The show has more metaphors than a 7th grade English lesson. Be ready and see how many you can spot.

Special shout out to @ppumusicaltheatre grad Ahmad Simmons as The Mute, whose role is greatly expanded in this version to demonstrate his ample talents.

Zane Phillips, in his Broadway debut as Narrator/El Gallo, is strong in the El Gallo role and in the singing part of The Narrator but I was less impressed with his actual narration which seems too understated and slow-paced. The show nearly grinds to a halt as a result about halfway through Act 1. He could take narration lessons from cast mate David Patrick Kelly who killed it as the narrator of “Into The Woods” on Broadway.

I also was a bit weirded out by El Gallo’s sexual attention that he paid to both boys in Act 2, but especially to Matt. Plus: When the flowers/vegetable gardens are covered over in Act they are in sexualized shapes. Both are choices.

I really liked this show.

Grade: A-
#thefantasticksbroadway
#broadwayreview by @davidgtitle

Armchair Review time! @mblnyc50 and I took in a preview performance of the updated (revival?) of “A Few Good Men” — the 1989 source material for the iconic movie. I wondered how Aaron Sorkin would update the play—otherwise why do this?—and how Tom Blyth, Krysta Rodriguez, and Bradley Whitfield would interpret the roles played by Tom Cruise, Demi Moore, and Jack Nicholson.

By and large the play succeeds. The cavernous @lctheater stage and some music underscoring gives the play the heft it needs. I’m always impressed with actors who can perform military movements with such precision, as the ensemble does throughout (eg: the constant pushups in the background in Act 1).

What about the leads? In Act 1 you feel like they are finding their characters’ inner souls and not just imitating the movie cast. But the relationship between Rodriguez’s character and the rest of the (nearly all-male) cast seemed borderline abusive. One particularly disgusting statement from Whitford’s character in Act 1 really made me wince.
I don’t think Rodriguez’s character got the respect in the play that Moore’s did in the movie. Humor in Act 1 did not land well for me but its previews and some of the comedic timing was clearly off.

Act 1 is the setup and Act 2 is riveting. Sorkin can write courtroom drama! By inserting humorous moments—Stephanie Berry shout-out as the judge—the drama only gets more intense. I like that they underplay the “you can’t handle the truth” line in favor of “I ordered the Code Red” from Whitford’s character.

I liked the emphasis on the moral quandaries in the script, as they are very relevant today, what with illegal orders to military personnel back on the table. The main defense of the two soldiers is: they were following orders. But as one character remarked, “That’s our defense? They were just following orders. That didn’t work at Nuremberg!”

But: The script is beautiful in that there are no “good guys” who “win” or “bad guys” who “lose.” The ethical dilemmas of the characters are on full display and it’s marvelous.

I’m glad they revived it. I suggest NOT watching the movie first. You’re better off re-learning it in person.

Grade: A- by @davidgtitle

Armchair Review is back. Get ready—this is the first of 4 over the next two weeks! @siouziemarro and took in “Kramer/Fauci” at @stannswarehouse in the Dumbo section of Brooklyn. Who would think to take a 1993 transcript of a C-SPAN telecast and, using text verbatim, create a play? Daniel Fish, that’s who. But why? And can it work?

Fauci is Dr. Anthony Fauci, best known for his role in advising Americans through the COVID-19 pandemic. This is about another epidemic, the HIV/AIDS scourge of the early 1990s. Kramer is Larry Kramer, author and AIDS activist who spars with Fauci throughout the program. I was especially taken with how Thomas Jay Ryan portrays Kramer, hitting all the correct emotions with depth and credibility. Will Brill’s Fauci is spot-on—but the range of emotions is less sweeping, as the calm, thoughtful, and patient Fauci is just as I recall him in 2020-21 during COVID.

Only my two other actors appear in the cavernous and largely empty set: the moderator of the show and another who plays the role of all the callers. Yes, it was call-in TV! Bright lights evoke a TV studio, blinding you from time to time.

This play is 60 minutes. For about 10 of those minutes a bubble machine spews forth a bubble bath into the stage with no dialogue, and the actors are immersed it in for the rest of the show. I think it’s full of symbolism that I can only speculate about. There’s also a chicken suit. Kramer thinks Fauci is a chicken for being too bureaucratic and not pushing for more funding. But neither wears the chicken suit so I could be misinterpreting that!

I know this seems odd but it works. You feel both frustrated and hopeful. Kramer’s rants — highly engaging — resonate about medical care today. Fauci and Kramer have a loving, respectful relationship despite their obvious disagreements. Too bad Fauci isn’t treated the same way in retirement now. Maybe that’s the point. Kramer wanted faster treatments discovered through research; today, Fauci’s detractors don’t actually believe in the value of science at all.

Grade: B+ by @davidgtitle

@redsox A day-night doubleheader to start the second half of the baseball season. by @davidgtitle

@mets @citifield @laurieisms by @davidgtitle

Armchair Review time! I took in @titaniquemusical and it was a hoot! I do recommend reviewing the story elements of the movie and “RuPaul’s Drag Race,” as Queer culture is a major element in the satirization of the movie. It’s 1 hour 40 minutes without an intermission and I smiled (or laughed or applauded) for all of it.

@marlamindelle is Celine Dion in this inventive retelling (Dion is, amazingly, on the Titanic!). I see why she was nominated for Best Actress for this portrayal. She also co-wrote the book. “Celine Dion” narrates and sings her alternate reality of the Titanic voyage. So in one sense it’s a jukebox musical, a genre I have come to avoid.

But in another sense, the show has so much more. Pop Culture references from the 1990s abound, and I was hard-pressed to get them all. I did enjoy the cameo of “Who Let the Dogs Out” and “Beauty and the Beast.” Some Broadway-centric shade also flies (Patty Lupone is one example).

The send-up of the love story of Rose and Jack, complete with Jim Parsons in drag as Ruth, and John Riddle as Cal, is one laugh after another. Layton Williams as “The Iceberg Bitch” is the culminating scene, played as Tina Turner belting “River Deep, Mountain High.” (It’s hard to explain.)

There is a a minimal set, with scenes told through interesting costumes and cheap-looking props. (This is similar to the way “Disaster! The Musical” satirized 1970s films. But that’s where the similarities end.)

There is audience participation if you are in the front row and it is quite amusing. One scene seems to be rewritten every night—or done as improv—the day I saw it they did a World Cup spoof.

Queer Culture is centered—which itself is having a moment. “Oh Mary” is running nearby. “Cats The Jellical Ball” is literally across the street. I may need to complete the trifecta.

This show has a great origin story. Two book writers star in it (Constantine Rousouli is Jack) and Tye Blue is its director. Another actor is listed as a producer (@deborahcox as Molly Brown). The cast is all-in, and it shows.

So, do your homework and enjoy. Seeing it once works for me so that means a grade of B+. But it’s not for everyone.

#broadway
#broadwayreview by @davidgtitle

Armchair Review time! @siouziemarro and I took in “La Cage Aux Folles” at @nycitycenter and had a great time. The show closes June 28 but maybe this was a Broadway trial.

This revival features Wayne Brady and Billy Porter heading an all-Black cast. The Jerry Herman score as played by the Encores! Orchestra is a treasure. I think I know all the lyrics even though I haven’t seen the show since 2010 and I was hardly the only one suppressing the urge to sing along.

Porter and Brady are excellent as they navigate these challenging lead roles. The plot remained intact for the revival but it likely needs updating from the 1983 original. The limited stage space cramped the ensemble numbers at the heart of the show. Suzanne pointed out that “The Cagelles” represented icons from popular and/or Black culture, rather than identical costumes in the original. With the orchestra on stage in Encores! Shows, a large number of drag performers can’t really shine show off their (new) individuality.

The modern demeaning of Black and Queer culture today, by some, makes this show relevant. The message in the show’s anthem, “I am Who I am,” at the end of Act 1 is a showstopper. The role of the son — who asks Brady’s character to tell Porter’s character to disappear rather than meet his fiancé’s parents — needs a rewrite. Ask the yourself! (If you must.)

The expansive orchestra playing this score is pure joy. With some updating to the script I could see this transferring to Broadway. The 2 hours and 50 minutes running time flew by.

Grade: B+ by @davidgtitle

Armchair Review time! @robintitle and I took in “Masquerade,” an immersive musical experience based on “The Phantom of the Opera.” It’s unlike anything I’ve experienced — and in mostly an excellent way.

You enter an unmarked building on West 57th Street. You have no ticket and there is no box office. You have a code. You wear formal attire, including a mask (pictured) that they provide if you don’t have one. You pick one of six 15-minute windows to enter with a group of about 40 others. Time slots range from a 7:00 pm entry to 8:15.

Then the magic begins. You are in the Paris Opera House. You are led by ushers from set to set, up staircases, up escalators, through tunnels. Actors perform so close to you feel like you are in the show. Each group has its own Phantom (we had Telly Leung) and Christine (Haile Ferrier). Some cast members perform for more than one of the six groups but it’s hard to know and it doesn’t matter—but the tech and direction behind this experience are masterful.

The show follows “Phantom” as its core but it deviates in some ways. If you want the original, you may feel disoriented. New scenes are added—the carnival that explores the Phantom’s origin story is great immersive theater and a nice addition to the book. Some elements are cut or reduced. Some scenes are in a different order (a more logical one, in Robin’s view). I think the ending is different as well. It’s 2 hours and 10 minutes with no intermission so something had to give.

At times I felt claustrophobic and in the way. The group size could have been a bit smaller. You need physically to be able to stand for most of the show, although there are some scenes with seating. The ushers move you quickly through narrow and dark spaces so of course I kept bumping into things.

The sound design is perfect. Actors are miked and singing fully yet you are not overwhelmed and can hear every lyric. Costumes are fabulous. How they pull this off is theatrical magic.

It’s expensive but worth it. I’d go again…you never know which cast you’ll get and I would know my way around!

Grade: A- by @davidgtitle

Armchair Review! Your enjoyment of “The Lost Boys” hinges in no small part on your interest in the teen/young adult horror/vampire genre. The technical and scenic marvels are incredible regardless, but if you aren’t into the genre, this is not a show for you. Full disclosure: I am not into this genre.

In the first act, a mom (Shoshanna Bean, great), takes her two sons from Phoenix to a fictional Northern California town after a divorce from an abusive husband (Ben Crawford of all people). Unfortunately this town is inhabited by vampires. People are disappearing. Both boys are “lost” and one ends up as a half-vampire in a gang of vampires. Mom is also “lost” and finds companionship with the owner of a video store (it’s 1987). Did you know there are half vampires? If so you will like this show.

The three-story set is mind-boggling in its scope, utility, and technical elements. I did not know that vampires slept upside down from the ceiling (like a bat), but you see it here. The flying scenes, the use of lighting and loud sonic booms add to the (dark) atmosphere. So amazing is this combination in the first act that it’s disappointing that we see a lot less of it in the second act. The big 11:00 number comes at 5:00.

Speaking of music, my ears hurt the whole night. This is my age speaking. The music and the vocals are so over amplified, especially in Act 1, that you can’t really hear the lyrics. This is “Tommy” on steroids. In the second act, some great individual performances are allowed to breathe—by then it was too late for my ears. And the big climax of the second act was too quick, with the plot—such as it is—wrapped up before you know it.

Shout out to the book writers for leaning into the queerness of the younger son—it’s a great modernization of the movie and not just a gratuitous side bar.

This show earned 12 Emmy nominations. I’m not the target demographic.

Grade: If you are into vampires , A-
Grade: if not into the genre, B

(Wish I could be more helpful.)

#broadway
#broadwayreview by @davidgtitle

Armchair Review—off Broadway edition. I saw @gottadanceshow at Stage 42 and you need to see it if you love Broadway dance numbers. There are 17 fully choreographed and costumed (and acted) songs from a range of composers, genres and decades. I do wonder about some of the choices but that’s going to happen when only a few can be chosen from hundreds of choices. (If we’re going to do a song from “Pippin,” how about “Magic to do”? Maybe not “Mr. Monotony”? But I nit pick.)

The talent is off the charts. I want to highlight three women: @samanthalsiegel in the medley from “Swing.” @thedeannadoyle in several numbers but most notably as Lise from “An American in Paris.” @jessicaleegoldyn as Cassie from “A Chorus Line.” On the male side what sticks with me is the duet “Moses Supposes” from “Singin’ in the Rain” by @ronniesbowmanjr and @rjhigton — to be honest I am leaving out a slew of others. The company sure shows its versatility!

The works span jazz, swing, tap, ballet and more. It’s 1 hour, 40 minutes including an intermission. They project background information about each number to orient the audience to the context which is very helpful.

If you ever wanted just to see the song/dance numbers this show is for you. There are full ensemble numbers, duets, trios, and solos. The small off Broadway theater has excellent sight lines but, due to the steep rake, you won’t want to sit in the last 5 rows if you have a choice.

Grade: A- (I’d go again)
#gottadance #offbroadway by @davidgtitle