Reverend's Reviews: A Magical Christmas On & Off Broadway

It has become a delightful, annual tradition for Reverend to spend a weekend in New York City with local friends before Christmas. The Big Apple is transformed each year into an extravagantly (sometimes excessively) decorated tribute to the multiple holidays celebrated by its various communities, including the LGBTQ community. I even helped a drag Mrs. Claus (aka Jacklynn Hyde) cross the street prior to her Bingo appearance at Dickens, a fabulous gay bar/restaurant in Hell's Kitchen. Hopefully, that will secure Reverend a few extra points with the "Big Gay," aka God.

While I can't say our December 13th-15th weekend in NYC was a Christmas-centric time, it was truly magical. One of my friends and I did kick things off in a religious vein with a performance of Handel's Messiah at Lincoln Center. Presented by the New York Philharmonic, the Musica Sacra chorale and several talented soloists, it was Reverend's first time seeing/hearing Messiah all the way through. Although my more knowledgeable companion thought the overall tempo too fast, I found it altogether lovely and faith-affirming.

We went from the sacred/sublime to the lovably ridiculous at The Big Gay Jamboree! This showcase for the hilarious writer-actress Marla Mindelle, who previously co-created and starred in off-Broadway's fantastic, long-running spoof Titanique, did not disappoint. Sadly, though, Reverend didn't learn until the next day that it was the production's closing weekend! The recent announcement that Titanique has expanded internationally provides some consolation.

The Big Gay Jamboree serves as Mindelle's LGBTQ-aware tribute to Broadway shows both classic and more recent. It features musical and/or visual callbacks to Oklahoma!, The Sound of Music, Wicked, Hairspray, A Chorus Line, The Music Man and Dreamgirls, among others. While performed in the East Village's small-scale Orpheum Theatre (home to the original Little Shop of Horrors and Stomp, among others), Mindelle's labor of love boasted director-choreographer Connor Gallagher (Beetlejuice: The Musical) and Hollywood-based production companies Luckychap, Indian Paintbrush and Annapurna. Subsequently, its scenic design, costumes, lighting and supporting cast were noticeably more advanced/underwritten than most off-Broadway ventures. In fact, The Big Gay Jamboree was initially developed as a movie star vehicle for Margot Robbie before she moved on to Barbie and other projects. God willing, the movie will yet happen.

Mindelle headlined the closed-too-soon stage rendition as Stacey, a vacuous party girl who drinks too much at a gay bar one night and wakes up engaged to be married in a Broadway musical circa 1945. While she has to follow the social conventions of the time, Stacey gradually enlightens her fellow characters to such modern-day advances as racial equality, BDSM, and LGBTQ rights as she searches for a way back to the "real" world.

It is rude and crude in spots but also smart and timely; AI ends up playing a significant part in the proceedings. Also playing a part in the NYC proceedings were former Saturday Night Live cast member Alex Moffat and Mindelle's Titanique co-creator, Constantine Rousouli. Rousouli's well-developed, lovingly-exposed thighs alone were worth the price of admission.

Whether as a movie, a Broadway transfer or local theater productions, I hope The Big Gay Jamboree will yet have a long and fruitful (no pun intended) life.

Nothing says "Merry Christmas" quite like a new Broadway musical about survivors of a 19th-century shipwreck who resort to cannibalism to survive, but such is the plot of Swept Away. It is now playing at the Longacre Theater, although a premature closing of December 29th has been announced. (The show just officially opened on November 19th.) Actually, a closing date of December 8th was first announced but a subsequent surge in holiday ticket sales resulted in a postponement. Such is the fate nowadays of too many shows not based on a previously existing property like a movie, book or TV show. Lempicka, Swept Away's sensational predecessor at the Longacre, is another sad case in point.

Though termed a "jukebox musical" since most of the show's songs by the Avett Brothers were previously existing, Swept Away features an original book by Tony winner and Oscar nominee John Logan. The all-male cast led by Broadway veterans John Gallagher, Jr. and Stark Sands is terrific but the standout element is the show's scenic design by Rachel Hauck. This includes the ship's spectacular on-stage sinking and a rolling, rotating lifeboat.

I found elements of both Logan's book and Michael Mayer's direction heavy-handed. More subtle handling of such themes as brotherly tension, religion, forgiving oneself, and the aforementioned cannibalism. A lighter approach also might have helped the show survive longer on Broadway, although the audience I was part of seemed to love it as is. If nothing else, it's worth catching Swept Away before it closes for that astonishing shipwreck.

The best, most lovable show I attended during our weekend of pre-Christmas revels was Maybe Happy Ending, now playing at the Belasco Theatre. This represented one of those happy, near-religious experiences where I went in knowing next to nothing about it and came out a raving believer.

This original musical, imported from South Korea but easily accessible to American theatregoers, is set in the near-future and centers on the growing, seemingly impossible love between two AI "helper bots." Oliver (played by the always watchable, Emmy-winning singer/actor Darren Criss) and Claire (Helen J. Shen, making her welcome Broadway debut) are neighbors in a helper bot retirement community, although Oliver is not aware that he has been retired. He devotedly pines for the return of his owner, James, so he can once again serve him. Claire decides to help Oliver find James, even as her battery is dying and she requires more frequent charging breaks.

Even if the plot becomes predictable at times, there are so many unique elements to this story and production that keep it engaging. Michael Arden's direction is masterful and Maybe Happy Ending also boasts amazing scenic design, this time by Dane Laffrey. Indeed, one moment in the show (no spoilers) is the most exquisitely beautiful moment — both musically and visually — I have ever seen on any stage anywhere.

Criss gives an excellent, physically precise yet emotionally moving performance as Oliver. Shen matches him emotionally if not physically, although as a later model of helper bot Claire is more advanced and less robot-like. Happily, Maybe Happy Ending seems to be finding an audience so I hope it will enjoy a longer run than the preceding productions reviewed here. It was a wonderful way to end our NYC holiday adventure.

Reverend wishes you and yours happy holidays, merry Christmas, and a blessed 2025!

Reverend's Ratings:
The Big Gay Jamboree: B+
Swept Away: B
Maybe Happy Ending: A-

Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.

Reverend's Reviews: Forbidden History Lessons

With our US presidential election looming, this is a good time to recall the life of who is generally considered the greatest president to date: Abraham Lincoln. The fact that the progressive, anti-slavery Lincoln was a Republican seems utterly shocking from today's perspective. To top things off, a new documentary provides the most compelling evidence to date that Lincoln was also homosexual. That loud noise you just heard was a collective gay gasp from pearl-clutching, modern-day Republicans!

Lover of Men: The Untold History of Abraham Lincoln, directed by Shaun Peterson, is now available across all VOD platforms for purchase and rental following its theatrical release last month. There was some cultural hubbub about Lincoln being gay before Steven Spielberg's 2012 biopic, which included a couple of oblique references to this. More recently, Cole Escola's smash Broadway play Oh, Mary! pulls no punches in depicting him as a barely closeted, adulterous gay slut.

Peterson, however, has created the most comprehensive and scholarly exploration of Lincoln's homosexuality to date. He had at least four long-term, romantic relationships with men during his lifetime, which was tragically cut short by his assassination. While we can't say for sure that they had sexual relations, they at minimum slept together regularly. The documentary produces numerous personal letters and eyewitness accounts to this.

Yes, Abe was married to Mary Todd and they had several children. As the new film makes clear, though, theirs was a mutually advantageous marriage in terms of social standing. Lincoln likely would not have been taken seriously as a presidential candidate had he been single. In fact, Abe broke off his first engagement to Mary and seemingly proposed to her begrudgingly once his male lover at the time, Joshua Speed, took a wife.

Lover of Men is heavily detailed and includes commentary from a number of researchers and Lincoln experts. It includes some arguably unnecessary dramatizations of Lincoln with his various, alleged lovers but the film remains engrossing and convincing. Most intriguing are some of the historical questions Peterson and company raise. For instance, would have/could have a straight president abolished slavery? Lincoln was able to empathize with the oppressed of his time, more than likely because he felt oppressed himself. As a result, he is considered by at least one commentator in the film to be the one US president to date who was "most invested in America, in democracy."

On that note and in honor of gay old Abe, be sure to vote on or before November 5th!

The best original musical on Broadway this year/last season – even though it wasn't nominated for the Tony Award in that category (it was in a few others) – was the stunning but sadly short-lived Lempicka. I entered the theater knowing absolutely nothing about the renowned 20th century painter whose life it depicts. I came out a fan of the subject and wanting to learn more.

As if in answer to Reverend's prayer, a documentary entitled The True Story of Tamara de Lempicka & The Art of Survival just had its world premiere October 11th at the Mill Valley Film Festival in San Rafael, California. Its representative was kind enough to send me a screener of the film in advance. Directed by Julie Rubio, the premiere is complemented by the first US retrospective of the trailblazing artist whose revolutionary work obviously continues to captivate audiences worldwide. Her exhibition is currently running at the De Young Museum in San Francisco through February 9th, 2025.

The True Story of Tamara de Lempicka & the Art of Survival traces the life and endurance of Lempicka: from her rise to international stardom in 1920's Paris, to her move to the United States fleeing fascism in 1940, to her revival in the current art market. Rubio's film (with input from the painter's biological descendants) follows this remarkable refugee as she reinvents herself multiple times. It successfully looks behind the veneer of the publicity she generated for herself and examines the bisexual, Jewish artist who embodied talent, resilience, passion and a relentless pursuit of artistic freedom.

I thoroughly enjoyed this film, even as it unintentionally makes clear some of the dramatic license taken by the creators of the stage musical. One of several examples: Lempicka ultimately settled in Mexico and died there, not in California as implied by the musical. But this is a minor qualm on my part, and anyone who didn't see the musical wouldn't know the difference. I'll happily continue to take Lempicka in whatever format or venue she appears.

Thankfully, the late lamented Lempicka is not skewered in the latest edition of Gerard Alessandrini's long-running NYC stage satire Forbidden Broadway. Subtitled Merrily We Stole a Song as homage to the recent, successful revival of Merrily We Roll Along and its late creator, Stephen Sondheim, the production now playing at Off Broadway's Theater 555 gleefully spoofs Broadway classics plus current hits and flops. The above mentioned Oh, Mary! even makes an appearance.

Interestingly, this version was originally slated to be the first Forbidden Broadway to actually play on Broadway. Plans changed a few months back so it is once again Off Broadway. The show's opening number, "Forbidden Broadway Not on Broadway," has great fun with this. Most of the revamped showtunes featured are fun, and some of them hilarious. But it also becomes apparent to longtime followers including myself that, after 30-plus years, the show's format is a bit tired and Alessandrini's repeats himself lyrically at times.

His current cast, however, is excellent. Danny Hayward makes a freakily accurate Eddie Redmayne while spoofing him and all his predecessors as Emcee in Cabaret. Nicole Vanessa Ortiz is vocally and comically impressive as both the Alicia Keys-inspired lead character in Hell's Kitchen and Audra McDonald's Mama Rose in her upcoming revival of Gypsy. As Doc Brown in Back to the Future: The Musical, Daniel Radcliffe in Merrily... and a bearded Mary Todd Lincoln, Chris Collins-Pisano is a hoot. Last but certainly not least, Forbidden Broadway vet Jenny Lee Stern nails Patti LuPone, Suffs creator Shaina Taub and Bernadette Peters, among others.

Unfortunately, the Saturday night performance I attended two weeks ago was sparsely attended, and the production just announced it will be closing on November 3rd. I honestly don't know that Forbidden Broadway will have an audience for potential future installments. That's all the more reason to catch Merrily We Stole a Song while you can.

Reverend's Ratings:
Lover of Men: The Untold History of Abraham Lincoln: A-
The True Story of Tamara de Lempicka & the Art of Survival: B+
Forbidden Broadway: Merrily We Stole a Song: B

Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.

Reverend's Reviews: A Critic's Life

Film, literary, TV and/or theatre critics such as yours truly have long been the butt of jokes aimed at us and our profession. These haven't necessarily been undeserved, but I've never seen a serious depiction of a truly unethical, possibly evil critic until I watched Anand Tucker's new film The Critic. Now in theatrical release in the US, it demands attention for multiple reasons but especially for 85-year-old Ian McKellen's delectable performance in the title role.

The out and proud McKellen plays Jimmy Erskine, whose increasingly caustic opinions have held sway over the London stage — and those artists inhabiting it — for more than 40 years. When we meet Erskine in 1934, he is revered and feared in equal measure. A negative review from him can close a show and destroy careers. Erskine clearly enjoys his power and the perks that come with it. These perks include a degree of needed social-legal protection, since he is a closeted gay man during a time when homosexuality was criminalized.

When the longtime owner of the newspaper to which Erskine has long contributed suddenly dies, the critic soon finds himself at odds with new owner David Brooke (played with nice subtlety by Mark Strong). Brooke disdains Erskine's influence, attitude and sexuality, and tells his chief critic to be "more beauty, less beast" when it comes to his writing. Erskine, feeling his job and status threatened, concocts a plan involving an ambitious actress to bring Brooke down. Things quickly get out of hand, with more than one life lost along the way.

The Critic, adapted by Oscar nominee Patrick Marber (Closer, Notes on a Scandal) from Anthony Quinn's novel Curtain Call, is well worth seeing for McKellen's darker-than-usual turn alone. However, additional strong performances are given by Alfred Enoch (well-remembered from TV's How to Get Away with Murder) as Erskine's longtime assistant/"lodger," Gemma Arterton (Prince of Persia, The King's Man) as the unfortunate actress manipulated by Erskine, and Oscar nominee Lesley Manville (Phantom Thread) as the actress' mother. The film also boasts lovely period art direction, costumes and cinematography.

At the film's opening, Erskine correctly informs viewers that the word critic is derived from the Greek and Latin words for "judge." Elsewhere he declares, "Theatre is eternal and matters more than politics." With this in mind, this consistently-published critic of 28 years — who has long striven to be ethical and is definitely not evil (depending on who you talk to, lol)—turns to judging two of the hottest, politically-related tickets currently on Broadway!

Oh, Mary! is a much-ballyhooed transfer from Off-Broadway that was both written by and stars queer performer Cole Escola. Escola has been recognizable in LGBTQ circles for a while now, thanks to their appearances on TV's Search Party, Mozart in the Jungle, Difficult People and numerous YouTube sketches. But the success of Oh, Mary! — which has just been extended at NYC's Lyceum Theatre through January 19th, 2025 — has elevated Escola to a whole new level. Reverend was thrilled to attend a performance last month.

Their outrageous gay-leaning farce presents a knowingly, lovingly contrary image of the historical Mary Todd Lincoln. Despite serving as First Lady to then-President Abraham Lincoln, she was — according to Escola alone — a frustrated, unhappily married, alcoholic, wannabe cabaret star. Escola plays all this to the hilt, and then some. Their Mary hides liquor bottles throughout the Oval Office, verbally and emotionally abuses her servant-chaperone, and challenges her barely closeted gay husband (reincarnated by out actor Conrad Ricamora) at every turn. She also happens to be completely clueless about the civil war ravaging the USA during her husband's administration. Mary eventually falls for the hunky theatre coach (James Scully) "Honest Abe" hires for her, though her husband's ulterior motives become decidedly apparent.

Everyone's destiny collides at Washington DC's infamous Ford Theater the fateful evening of April 15th, 1865. Yet Escola's one act play climaxes with Mary's ultimate cabaret performance that absolutely brings down the house. It's no wonder Oh, Mary! won numerous Off-Broadway awards last season including several from GALECA: The Society of LGBTQ Entertainment Critics, of which Reverend is a member. Watch for it to potentially dominate this season's Tony Awards following its transfer to Broadway. Escola and their radical revisionist-history comedy are fully deserving of all the accolades they are receiving.

Once Upon a Mattress is back on Broadway in a delightful revival starring two-time Tony Award winner Sutton Foster. The original 1959 production of this comedic adaptation of The Princess and the Pea famously made a star of Carol Burnett. Additional tours, revivals and TV versions have been headlined by the likes of Dody Goodman, Imogene Coca, Sarah Jessica Parker and Tracey Ullman, not to mention thousands of high school ingenues.

If Foster wasn't already a star of stage and screen, this current production would surely make her one. Her singing and dancing as the hapless Princess Winnifred are as impressive as ever; it's her Lucille Ball-rivaling comedic skills on display here that are a guffaw-inducing revelation. They begin at Foster's entrance. Covered in filth, garlands of moss and even leeches (which she ends up hurling into the audience), she immediately establishes herself as the dirtiest, rowdiest Winnifred to date. Foster's hilarious antics continue through the finale and include stuffing her mouth with grapes, exuberantly dancing the punishing "Spanish Panic," and contorting herself repeatedly on the musical's titular pile of bedding. Her performance could assure her another Tony Award next year, although Audra McDonald's upcoming turn as Mama Rose in Gypsy will likely offer stiff competition.

Shamelessly aiding and abetting these shenanigans are out co-star Michael Urie (known for TV's Ugly Betty and Younger as well as his numerous, award-winning stage credits) as Prince Dauntless, Winnifred's royal intended; Saturday Night Live and Wicked veteran Ana Gasteyer as the conniving Queen Aggravain; and previous Tony Award nominees Brooks Ashmanskas, Daniel Breaker and Will Chase. Lear Debessonet (who was just appointed the new director of Lincoln Center Theatre) directs with winning playfulness, and Lorin Latarro provided the energetic choreography.

Also adding to the frivolity are Foster's longtime collaborator Amy Sherman-Palladino, who smartly updated the musical's rather creaky book. Untouched, however, is the classic score composed by the late Mary Rodgers (Richard's daughter) and Marshall Barer. This Once Upon a Mattress can be enjoyed by all ages, as the giggles of numerous young children seated near me testified. Get thee to NYC's Hudson Theatre asap!

As Reverend recently said to my hospice chaplain day job supervisor: If you would have told me when I was a teenager or young adult in Arizona that I would one day be living adjacent to New York City and regularly attending/reviewing Broadway shows, I would have said "That will never happen." This critic stands humbly, gratefully corrected.

Reverend's Ratings:
The Critic (Film): A-
Oh, Mary! (Broadway): A
Once Upon a Mattress (Broadway): A-

Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.

Reverend's Reviews: Back to the Future?

44 years ago, Reverend was an innocent yet nubile 14-year-old who was nonetheless following the movie industry closely as a budding young filmmaker. I was reading rumblings in mainstream newspapers and magazines — remember those? — about Caligula, a historical epic inspired by the life of the notoriously vicious Roman emperor.

Caligula, initially released in the US in 1980, was the most expensive independent film in cinema history at the time but had a tumultuous journey to the screen. Written by the esteemed Gore Vidal and headed by the then-stellar cast of Malcolm McDowell, Helen Mirren, Peter O'Toole and Sir John Gielgud, it was meant to be an epic showcase of the generation's finest talent while addressing the corrupting influence of power amid the rampant sexuality of the Roman court. However, producer Bob Guccione — who at the time also published the 18+ Penthouse magazine — seized control of the negative and randomly inserted graphic scenes of unsimulated sex and gratuitous violence. The cast and film team disavowed what had become a blatant desecration of Vidal's themes. Vidal himself successfully sued to have his name removed from the project. Extensive coverage of such behind-the-scenes notoriety had an unexpected effect: the film became an international box office success.

Jump ahead to 2024 and enter Caligula: The Ultimate Cut. A complete reconstruction of one of cinema’s most lavish-yet-notorious productions, it is being released by Drafthouse Films in select US theaters beginning today prior to a 4K Ultra High-Definition home video release. This new presentation made its world premiere at the Cannes Film Festival in 2023, introducing both new generations of movie audiences and classic filmgoers. Its significant reconstruction uses alternate takes and camera angles, and features — for the first time ever — the complete film narrative.

This new release aligns more closely to Vidal's original script, especially with the addition of a prologue that illustrates one of Vidal's missing scenes created by noted graphic artist Dave McKean. Nearly 100 hours of footage was discovered by the film's dedicated reconstructionist, Thomas Negovan. It showcases underrated performances from the film’s cast and fully realizes McDowell's complex, charismatic Caligula. McDowell himself has recently stated he is happy to have his full performance in the film finally available. The new edition also resurrects eventual Oscar winner Mirren's more layered character arc, which now cements the film's final hour.

All in all, Caligula: The Ultimate Cut adds about 30 minutes to the original, unedited version's run time of 2 ½ hours. It retains much of the graphic sex and violence of the prior edition while eliminating its more "ejaculatory" moments. Thankfully, there is even more gay/poly content in the new version, which would no doubt please the outspokenly gay Vidal. Danilo Donati's minimalist costumes but extravagant sets are even more stunning in 4K.

Alas, the continuing deficit to Caligula in its various iterations is that the title character remains almost inexcusably evil. While The Ultimate Cut provides a bit more backstory in its first 30 minutes as to why Caligula turns out the way he does, he remains blissfully unrepentant in the end. But, for all its excesses, perhaps that's why this woebegone epic remains resonant today. What are Donald Trump, Vladimir Putin, Nicolas Maduro and Xi Jinping but modern-day Caligulas, eager to retain power no matter what the human cost?

Upon a recent re-viewing, Reverend was struck by how Francis Ford Coppola's 1986 fantasy Peggy Sue Got Married has grown in thematic significance. The film was conceived and/or perceived as the antithesis to 1985's Steven Spielberg-produced Back to the Future. Coppola's take on time travel —thoughtfully scripted by Jerry Leichtling and Arlene Sarner — was more feminist, more philosophical, less dependent on visual effects and, ultimately, more divisive than its blockbuster predecessor.

An Oscar-nominated, then-superstar Kathleen Turner headlines as the titular character, who finds herself mysteriously transported from middle-age to her senior year of high school 30 years earlier. She is subsequently presented with the unique opportunity to re-evaluate her life choices, including her troubled marriage to high-school sweetheart Charlie (an oft-criticized but endurably offbeat performance by Coppola's nephew, Nicolas Cage). In addition to Cage, Helen Hunt, Joan Allen, Catherine Hicks, and some guy named Jim Carrey make significant early-career appearances in the film. Veteran actors Barbara Harris, Leon Ames, Maureen O'Sullivan and John Carradine are also on hand.

Perhaps because I'm celebrating my 57th birthday but remembering when I first watched Peggy Sue Got Married at the theater in which I served as an assistant manager back in 1986, the movie was even more resonant this time around. I also became unexpectedly emotional with the appearances of Peggy Sue's mother and maternal grandmother in the film, since my own mother and maternal grandmother have both passed away in more recent years.

Coppola helmed this more cost-efficient production following his big-budget flops One From the Heart and The Cotton Club. I dare say it is one of his very best films, right up there after The Godfathers and Apocalypse Now. It has even gotten better with age. You owe it to yourself to watch or re-watch Peggy Sue Got Married asap.

Reverend's Ratings:
Caligula: The Ultimate Cut- B-
Peggy Sue Got Married- A-

Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.