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.

And the 2024 Dorian TV Awards Go To...

GALECA: The Society of LGBTQ Entertainment Critics announced today the winners for the 2024 Dorian TV Awards, honoring the best in television and streaming networks. In the 16th go-around of GALECA’s TV honors, Hacks leads with four wins, including Best TV Comedy.

BEST TV DRAMA
⭐️ Anne Rice's Interview with the Vampire (AMC)

BEST TV COMEDY
⭐️ Hacks (Max)

BEST LGBTQ TV SHOW
⭐️ Anne Rice's Interview with the Vampire (AMC)

BEST TV MOVIE OR LIMITED SERIES
⭐️ Baby Reindeer (Netflix)

BEST UNSUNG TV SHOW
⭐️ Reservation Dogs (FX/Hulu)

BEST WRITTEN TV SHOW (new category)
⭐️ Hacks (Max)

BEST NON-ENGLISH LANGUAGE TV SHOW
⭐️ Shōgun (FX/Hulu)

BEST LGBTQ NON-ENGLISH LANGUAGE TV SHOW (new category)
⭐️ Young Royals (Netflix)

BEST TV PERFORMANCE—DRAMA
⭐️ Matt Bomer, Fellow Travelers (Showtime/Paramount+)

BEST SUPPORTING TV PERFORMANCE—DRAMA
⭐️ Jonathan Bailey, Fellow Travelers (Showtime/Paramount+)

BEST TV PERFORMANCE—COMEDY
⭐️ Jean Smart, Hacks (Max)

BEST SUPPORTING TV PERFORMANCE—COMEDY
⭐️ Hannah Einbinder, Hacks (Max)

BEST TV MUSICAL PERFORMANCE
⭐️ Ryan Gosling, “I’m Just Ken,” 96th Academy Awards (ABC)

BEST TV DOCUMENTARY OR DOCUMENTARY SERIES
⭐️ Quiet on Set: The Dark Side of Kids TV (Investigation Discovery)

BEST LGBTQ TV DOCUMENTARY OR DOCUMENTARY SERIES
⭐️ Last Call: When A Serial Killer Stalked Queer New York (HBO)

BEST CURRENT AFFAIRS SHOW
⭐️ Last Week Tonight with John Oliver (HBO)

BEST REALITY SHOW
⭐️ The Traitors (Peacock)

BEST GENRE TV SHOW (new category)
⭐️ Anne Rice's Interview with the Vampire (AMC)

BEST ANIMATED SHOW
⭐️ X-Men '97 (Disney+)

MOST VISUALLY STRIKING TV SHOW
⭐️ Ripley (Netflix)

CAMPIEST TV SHOW
⭐️ Chucky (SyFy / USA)

WILDE WIT AWARD
—To a performer, writer or commentator whose observations both challenge and amuse
⭐️ Julio Torres

GALECA TV Icon Award
—To a uniquely talented star we adore
⭐️ Carol Burnett

GALECA LGBTQIA+ TV Trailblazer Award
⭐️ Alan Cumming

Reverend's Reviews: From Screen to Stage

Several new musicals, now having their world premieres in various Northeast locations, draw their inspiration from movies to greater or lesser degree. The most direct adaptation is The Queen of Versailles, based on a 2012 documentary of the same name and its more recent reality series sequel The Queen of Versailles Reigns Again. Reuniting Tony Award winner Kristen Chenoweth with Wicked composer Stephen Schwartz, it is making its pre-Broadway debut at Boston's historic Emerson Colonial Theatre. Reverend was privileged to attend a preview performance on July 27th.

Chenoweth is fantastic as Jackie Siegel, the real-life wife of billionaire David Siegel. In the wake of their European honeymoon 24 years ago, Jackie became inspired to build a replica of the French palace of Versailles in their home state of Florida. With unlimited financial resources, at least at the time, the couple broke ground on what would become one of the largest private homes in the US. However, the 2008 recession and David's related financial losses temporarily halted construction. The house remains unfinished to this day.

Schwartz, playwright Lindsey Ferrentino and Tony-winning director Michael Arden have envisioned the Siegels' story as a Faustian tale of what one can lose in gaining excessive wealth and/or pursuing "the American dream." Their musical's first act is engaging as it introduces us to Jackie, David (played by Academy Award winner F. Murray Abraham), their first daughter Victoria, Jackie's adorable dog Bear, and the various characters in their employ. Though currently a tad overlong, it is important to note The Queen of Versailles is a work in progress and will likely continue to be revised. Schwartz's generally upbeat Act One songs convey Jackie's joie de vivre well, and Chenoweth delivers them with gusto.

The plot becomes decidedly more serious post-intermission, and the shift in tone is jarring. The current Act Two songs also aren't as good, save a powerhouse finale song spectacularly performed by Chenoweth as she scales a massive staircase. (Song titles were not provided in the program, likely because they are still subject to change.) Abraham's limited singing ability is also a deficit that becomes more apparent the longer the show goes on. On the plus side, Act Two currently offers some pointed and very timely political commentary.

Despite its current liabilities, The Queen of Versailles has much to recommend it including very impressive costumes, scenic and video design, and orchestrations. But the main asset is undeniably Chenoweth. A Tony award for Best Lead Actress may well be in her future once the show — with or without further revisions — transfers to NYC next season as planned.

F. Scott Fitzgerald's classic 1925 novel The Great Gatsby recently entered the public domain. As such, it is now available for theatrical, cinematic and television adaptation by anyone who wants to take a stab at it. Many have tried over the decades but few have been successful at capturing the book's philosophical blend of romance, social critique and Jazz Age opulence. The best to date is arguably Baz Luhrmann's 2013 movie.

One new stage musical of The Great Gatsby is already playing on Broadway while another Broadway-bound version, simply titled Gatsby, just celebrated its world premiere run at American Repertory Theater (A.R.T.) in Cambridge, Massachusetts. On entering the theater, one is instantly struck by scenic designer Mimi Lien's set. Dominated by car wrecks to evoke the mechanic George Wilson's junkyard and also foreshadow the tragic death of his wife, Myrtle, it communicates to audience members that this will not be as pretty a production as we may be used to. It turns out to be accurate, even with a handful of lavish dance numbers set in the title character's fairly minimalist mansion.

This Gatsby (subtitled An American Myth in publicity materials) better balances the overlapping stories of Jay Gatsby's undying love for the married Daisy Buchanan and the difficult marriage between Myrtle (who is having an affair with Daisy's husband) and George. This brings the social-economic disparities between them into sharper focus. Pulitzer Prize winner Martyna Majok wrote the book for the musical. The songs were co-written by Florence Welch, longtime headliner of Florence + the Machine, and Thomas Bartlett. They are tuneful and serviceable if not particularly memorable. They were also frequently over-amplified during the performance Reverend attended, making it hard to distinguish the lyrics at times.

The cast was strong, even with swings/understudies in the roles of Myrtle and Nick. Notably, this production makes Nick Carraway's long hinted-at homosexuality or bisexuality explicit, which I definitely appreciated after seeing so many adaptations tiptoe around this.

Ask for the Moon, a self-proclaimed "mischievous new musical," features some enjoyable cinematic connections/allusions. With a book and lyrics by Tony winner Darko Tresnjak (who also directs) and music by Oran Eldor, it is playing at Goodspeed's Terris Theatre in Chester, Connecticut through August 11th.

With plentiful references to classic Hollywood melodramas like Now, Voyager (from which the show draws its title) and The Poseidon Adventure, audiences set sail on the Jewel of the Sea ocean liner with a scheming widow, a vengeful lawyer, and a volatile nurse. There are also a pair of squabbling Carpathian twins; Persimmon De Vol, stylist par excellence; and even a pet piranha with digestive issues!

Running a brisk 2 hours including intermission, Ask for the Moon is something few new musicals are nowadays: fun! This is largely due to hard-working cast members Luba Mason, Ali Ewoldt and Jamison Stern. Stern works a little too hard playing multiple roles (including the aforementioned twins) and goes over the top at times, but this is ultimately a minor criticism. And what's not to love about a show that boasts a dance number titled "The Skankey Meringue"?

New York City's iconic Empire State Building has been spotlighted in hundreds of movies since its construction way back in 1931. An Affair to Remember, multiple versions of King Kong, and Independence Day come to mind, among many others. While the new stage musical Empire is not adapted from a film, it certainly evokes many of these classic cinematic sequences.

Now being performed at Off-Broadway's New World Stages through September 22nd, Empire relates the historical drama behind the skyscraper's development while naturally adding song and dance. With book, music and lyrics by Caroline Sherman and Robert Hull, the show incorporates both real-life and fictional characters. Significantly, it tends to focus on the women whose work on the building has long gone unrecognized. This is admirable but the writers also add a 1970's-set framing device that proves excessive. The fact that one of the latter-day characters is able to time travel back to the 1930's definitely strains credibility.

Tony-winning actress and director Cady Huffman helmed this technically impressive production, with scenic design by Walt Spangler. Lorna Ventura's energetic choreography makes the best of sometimes limited space. The cast is good and their vocal arrangements are sometimes striking, especially when the men sing together. I definitely found Empire enlightening and sporadically entertaining but it could benefit from some further work.

Reverend's Ratings:
The Queen of Versailles: B
Gatsby: B-
Ask for the Moon: B+
Empire: C+

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

Reverend's Reviews: MaXXXine, Cats and NYC Pride Shows

Midsummer has brought an abundance of cinematic and theatrical thrills. From new twists on serial killer and alien invasion tropes, to a fantastic revival of a classic musical plus a new off-Broadway LGBTQ event, there is truly something for everyone available right now. Here is Reverend's rundown:

MaXXXine, now playing in theaters from A24 releasing.
Mia Goth's title scream queen turned murderess first made a splash in 2022's X, then became the retro Pearl in last year's gory throwback to an earlier era of filmmaking. Writer-director Ti West again proves himself to be a master at recreating cinematic eras with this new sequel, set in the excessive mid-1980's. Goth returns as now-porn star Maxine Minx, who is desperate for mainstream crossover success and will stop at nothing to achieve it.

Soon after being cast in the lead role of sequel-within-a sequel The Puritan 2, Maxine's friends start turning up dead and a creepy private investigator played by none other than Kevin Bacon begins trailing her. Could her imperious director, the real-life serial killer dubbed "The Night Stalker," and/or Maxine's religious fanatic father be behind things? No spoilers here. While MaXXXine doesn't quite reach the deliriously campy heights of Pearl nor the intensity of X, it is a worthy entry in this smart and lovingly self-aware series. Goth remains one of today's most exciting, unpredictable big-screen actors. And I really hope they release this movie's song soundtrack — featuring the likes of Frankie Goes to Hollywood, Kim Carnes, ZZ Top, New Order, Animotion, John Parr and more — on old school CD!

A Quiet Place: Day One, now playing in theaters from Paramount Pictures.
This engrossing prequel to actor-director John Krasinski's previous two sci-fi/horror films about blind yet sound-sensitive aliens decimating the human race revitalizes things in a rather ingenious way: It relates the beginning of the invasion from the perspective of a terminally-ill woman and her therapy cat. I'm not kidding. Eventually, they meet up with an anxiety-stricken young man who becomes an unexpected ally, but this movie definitely belongs to Lupita Nyong'o's Samira (or Sam for short) and the impressively loyal Frodo (played interchangeably by two real cats, Nico and Schnitzel).

Sam is making her anticipated final visit to New York City with fellow residents of her hospice on the day the vicious aliens arrive, which can be perceived as either unfortunate or fortunate timing. She subsequently makes her way through the devastated metropolis in single-minded pursuit of her dying wish: a slice of pizza from her favorite Harlem restaurant. Uniquely, the intervention of the aforementioned young man (Joseph Quinn of Stranger Things and the upcoming Gladiator II) threatens to upend her plans more than the aliens.

As written and directed by relatively new but gritty filmmaker Michael Sarnoski (Krasinki was apparently busy with his Jack Ryan series and charming, recent movie IF), Day One is unexpectedly thoughtful and moving. I can attest to its authenticity as a depiction of a dying woman's experience, since I work full-time with diverse hospice patients. Thankfully, most dying people don't have to contend with evil aliens in addition to their serious illnesses!

Cats: The Jellicle Ball, now being performed through August ​11th at the Perelman Performing Arts Center (PAC) in New York City.
Speaking of cats, Frodo above isn't the only feline currently strutting their stuff in audience-pleasing offerings. The 40-year old stage musical Cats, written by Andrew Lloyd Webber and inspired by the writings of T. S. Eliot, has been re-envisioned as an NYC-set queer ballroom story à la the classic documentary Paris is Burning and more recent FX-Hulu series Pose. This new interpretation is nothing short of sensational, and one of my all-time favorite theatrical experiences to date.

I was not a fan of the original production of Cats; in fact, I prefer the much-maligned 2019 film. I love actual cats and have 3, but the sight of adult dancers in feliney leotards plus ears and tails left me underwhelmed. Happily, there are few literal feline allusions in this new Jellicle Ball. Instead, co-directors Zhailon Levingston and Bill Rauch have re-defined the term cat as "slang for any queer person or ally who is part of the Ballroom scene," in the context of their production. They are aided delightfully by co-choreographers Omari Wiles and Arturo Lyons, not to mention an amazing cast of LGBTQ performers and allies headlined by 78-year old Tony Award winner Andre De Shields as Old Deuteronomy. Best of all for fans of Paris is Burning like me is the participation of Junior LaBeija ("O-P-U-L-E-N-C-E!") as Gus, the Theatre Cat!

The palms of my hands were sore from applause by the end of the performance I attended, and I had cried at least twice. If you'll be anywhere near NYC this summer, you simply MUST attend Cats: The Jellicle Ball.

From Here, also being performed now through August 11th by Renaissance Theater Company at the Pershing Square Signature Center in NYC.
I closed out Pride weekend in NYC with a preview performance of this striking new musical inspired by the tragic shooting of 49 LGBTQ people and allies at the Pulse nightclub in Orlando, Florida 8 years ago. Donald Rupe wrote, scored and directed a semi-autobiographical and undeniably affecting story that focuses on a group of friends impacted by the massacre in various ways.

The engaging Blake Aburn leads the cast and holds center stage throughout as Daniel. While struggling for acceptance from his mother for being gay and having difficulty committing to a long-term relationship, Daniel nevertheless secures a chosen family of devoted friends. Although they all survive the June 12th, 2016 shooting at Pulse, they understandably bear emotional and spiritual scars. The musical gives almost everyone a literal spotlight in which to share their experience.

Rupe's book and songs are strong as are his cast members, who are mostly transplanted from Orlando and making their NYC stage debuts. His direction is at times too self-referential and threatens to become cloying but thankfully did not during the performance I attended. Most bothersome to me was the sound mix in a theater that is ultimately too small for this powerful production. Here's hoping From Here graduates soon to a larger venue in NYC and/or elsewhere.

Reverend's Ratings:
MaXXXine- B+
A Quiet Place: Day One- A-
Cats: The Jellicle Ball- A
From Here- B

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

Reverend's Reviews: Jessica Lange IS Mother of Broadway

Maya Rudolph may have recently been declared as the mother of Mother's Day 2024 and late-night TV in a must-watch, Gaga-esque opening sketch courtesy of SNL. However, and with apologies to Maya, the current Mother of Broadway is two-time Oscar winner Jessica Lange. She is currently headlining Paula Vogel's appropriately titled Mother Play at NYC's (Helen) Hayes Theater and has been nominated for the Best Actress Tony Award for her performance. In this semi-autobiographical work that spans six decades, Lange plays Phyllis, the less-than-enthusiastic mother to a gay son (played by Jim Parsons of The Big Bang Theory and Young Sheldon fame) and a lesbian daughter (played by previous Tony Award winner Celia Keenan-Bolger). Both Parsons and Keenan-Bolger are also Tony-nominated this year for their turns here.

Subtitled A Play in Five Evictions, Vogel's new work follows Phyllis and her children in the wake of her separation from their father. Between affordability and infestations by pests (gloriously visualized by projection designer Shawn Duan), they are evicted from their first three apartments in fairly quick succession. The trio gradually find their footing both collectively and individually but continue to experience ups and downs as the decades progress. Women's rights, LGBT rights, and the specter of AIDS all intervene along the way.

I was privileged to see Lange live on stage for the first time last weekend, even though this is not her first Broadway appearance and she already has one Tony Award to prove it. Like myself and many others in the Northeast recently, she was apparently grappling with some allergies and had to cough at times during the performance. (The next day's matinee performance was cancelled due to her health issues.) But Lange nonetheless imbued Phyllis with vitality, humor and dramatic vulnerability. Heck, she even dances more than once during Mother Play!

Director Tina Landau can be considered guilty of a few excesses in her staging. Most questionable is an approximately 10-minute scene in which Lange is alone onstage. I don't know how it was written by Vogel, but it is showy to say the least. The production's best scenes are when Lange, Parsons and Keenan-Bolger are all together... and accompanied by a chorus of dancing cockroaches!

Also causing a stir on Broadway currently is the Tony-nominated musical Illinoise. Inspired by the 2005 album by queer singer-songwriter Sufjan Stevens, I exited a recent performance asking the same question some fellow critics have asked: Is it truly a musical? Or is a dance piece with choral accompaniment (and no singing principal cast members)?

Whatever it is as determined by award nominators, Illinoise does prove to be an affecting theatrical experience. Director-choreographer Justin Peck has conceived Stevens' album as an opportunity for a group of diverse young adults to come of age via dance around an on-stage campfire. At the center is the adorable Ricky Ubeda's Henry, a gay man tortured by his doomed first romance even as he is currently in a loving relationship with a more mature man. We've all been there, honey, and the album/production could have just as easily been titled Arizonoise or Indianaise, based on my personal experience.

Stevens' music, Peck's choreography, Brandon Stirling Baker's lighting design and Adam Rigg's naturalistic scenic design all work together effectively to create an engrossing, engaging tapestry. But is it really a musical? I tend to consider Illinoise more of a dance piece but still expect it to win a Tony or two come June 16th.

Reverend's Reviews:
Mother Play: B+
Illinoise: B

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

Reverend's Reviews: Outsiders and Elephants on Stage

I went into the May 4th performances of new Broadway musicals The Outsiders and Water for Elephants knowing they bore a few similarities to one another. Both are drawn from beloved literary works that were adapted into generally successful movies. Both productions were directed by women — Danya Taymor (Julie's niece) and Jessica Stone, respectively — and they have both been nominated for this year's Tony Award for Best Direction of a Musical. Finally, both musicals are nominated for the 2024 Tony Award for Best Musical.

But they also share a few things in common of which either I was not aware or did not remember from their source material. Somewhat oddly but tragically, both The Outsiders and Water for Elephants feature a central protagonist who recently lost their parents in a fatal car crash. They both incorporate musical scores written by a conglomerate of composers: the Pigpen Theatre Company (Water for Elephants) and Texas-based band Jamestown Revival with Justin Levine (The Outsiders). And finally, both shows employ significant, impressive theatrical techniques in telling their stories. Water for Elephants boasts a menagerie of circus animals brought to life via puppetry, while The Outsiders has both an onstage church fire and a rain-soaked fight scene to keep viewers engaged.

Apart from these various similarities and attributes, however, both musicals end up being fairly standard or good-but-not-great. The Outsiders, based on S.E. Hinton's acclaimed novel about class differences among youth in 1960's Oklahoma, benefits from a strong first act but unfortunately suffers from its over-long and sentimental second act (though it isn't as mawkish as Francis Ford Coppola's 1983 movie, thank God). The fact that the story's teenaged characters are being portrayed by actors in their 20's-30's also makes a negative impact. That being said, Brody Grant in his Broadway debut is an affecting, Tony-nominated Ponyboy.

At least The Outsiders has some still-potent social commentary on its side. The plot of Water for Elephants proves dated apart from its "be kind to animals or they might kill you" message. Headliner Grant Gustin, best known as The Flash on the long-running TV series, was sadly out sick the night Reverend attended. He plays one third of the story's love triangle, with Isabelle McCalla as the circus performer object of his affection and her husband, abusive ringmaster August (played by Paul Alexander Nolan). But these characters aren't particularly well-developed, which allows the show's puppet animals and real-life circus performers to justifiably take center stage.

Perhaps most critically of all, neither musical's songs are particularly memorable. Ponyboy's Dickens-inspired "Great Expectations" and Water for Elephants' second act opener "Zostan" made the biggest impressions on me. Audience members around me, though, responded strongly at the end of both shows with The Outsiders taking a noticeably emotional lead. Will this translate into Tony Award success come June 16th?

Reverend's Ratings:
The Outsiders: B
Water for Elephants: B-

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

Reverend's Interview: We Love You, Mommie Dearest

Where were you when you first watched Mommie Dearest? Acclaimed and reviled in equal measure upon its release, the movie has been a camp phenomenon in some segments of our LGBTQ+ community for over four decades now. Watching it has become a rite of passage for many.

My late, beloved grandmother Phyllis was a fan of Hollywood legend Joan Crawford, and I fondly remember attending an opening weekend screening of the movie with her in September, 1981 (I was a mere 14 years old at the time). I recall we both thought it was well-done, even if a few over-the-top scenes strained credibility. But I also recall seeing a report on TV’s long-running Entertainment Tonight just a week or so later about how the movie was becoming a cult experience, with some male viewers dressing in drag as Joan and wielding wire coat hangers. If you’ve seen the film (and if you haven’t, you must watch it ASAP) you know what that’s all about.

Mommie Dearest was adapted from an infamous autobiography of the same title published in 1978 by Joan’s adopted daughter, Christina Crawford. Her mother had died a year earlier at the age of approximately 73 (Joan was notoriously cagey about how old she was) and had left Christina and her adopted brother, Christopher, out of her will. Christina subsequently felt compelled to write about her physically and emotionally abusive relationship with her late, Academy Award-winning mother.

A. Ashley Hoff

Her book became a bestseller but also tarnished Joan’s image, justifiably so. Now, a new book exploring this history is being published on May 7th. With Love, Mommie Dearest: The Making of an Unintentional Camp Classic, by A. Ashley Hoff, details the writing and selling of Christina's book and the aftermath of its publication as well as the filming of the motion picture, whose backstage drama almost surpassed what was viewed onscreen.

Hoff is also the author of Match Game 101: A Backstage History of Match Game and My Huckleberry Friend: Holly Golightly and the Untold History of Breakfast at Tiffany’s. He previously worked for talent agencies in Chicago and Los Angeles, and has written articles on Hollywood for The Advocate and Films in Review. Hoff has also been interviewed about numerous pop culture subjects on various talk shows and podcasts.

During a recent phone conversation with Hoff, this writer asked him when and where he first saw Mommie Dearest.

“I had known of its reputation, but the first time I saw it I was in high school and it was on cable TV,” the author replied. “It was really cut up with some scenes missing, including the bathroom scene. I took it seriously, as a horror movie and not as camp.”

IRL: Christina and her "mommie dearest" Joan Crawford

He continued: “The first time I saw it on the big screen was at the Music Box Theater in Chicago in 1997 or ’98. They had a ‘Mother’s Day with Christina Crawford’ event. She was there, and it was kind of creepy watching this movie about her abuse knowing Christina was in the lobby. So, I went out and talked to her. We had a nice conversation.” Hoff subsequently kept in touch with Christina and excerpts from a 2021 interview he conducted with her are in his book.

Indeed, With Love, Mommie Dearest contains many interviews and anecdotes from people involved in the movie’s production. Readers will learn that, shortly after her book was published, Christina was approached by producer Frank Yablans for the movie rights. In addition to buying the rights, Yablans agreed to pay her to write a first draft of the screenplay. She did so but he did not use it.

“The sad part about Mommie Dearest was that I really wanted to make a film about child abuse and the manner in which child abuse can occur,” Yablans wrote in his later, unpublished memoir cited by Hoff. “Child abuse can also happen in extremely wealthy homes with extremely powerful people… That was what compelled me to make the movie, and it was well ahead of its time because today child abuse is a much bigger issue than it was in 1981.”

When the movie was released in US theaters on September 18th of that year, Christina Crawford was unable to enjoy its initially successful reception at the box office. She had suffered a massive stroke one month earlier and was given a one percent chance of survival. Thankfully, she recovered within a couple of months following risky surgery. Once again, Christina proved herself a survivor.

Faye Dunaway as Joan in Mommie Dearest

Both directors and lead actresses came and went during the film’s pre-production process. Ultimately, Academy Award-winner Faye Dunaway was cast as Joan. It is her performance that largely drives the movie’s reputation as a camp classic, and it negatively affected her career.

I asked Hoff more about this. “Does she give an over-the-top performance? Absolutely,” he replied. “Does she chew scenery? Absolutely. But she gives a truly operatic performance, which is what the director (Frank Perry) wanted. To be fair, she gives a phenomenal performance!”

Some agreed with this at the time: Dunaway placed second as Best Actress of 1981 with both the New York Film Critics Circle and the National Society of Film Critics. But she also “won” the Golden Raspberry Award, or Razzie, as Worst Actress of the Year for Mommie Dearest (to be fair, Dunaway actually tied with Bo Derek’s non-performance as Jane in Tarzan, the Ape Man.) Even today, some reputable critics including Leonard Maltin and yours truly admire the film for its groundbreaking depiction of child abuse.

“I recently showed the film to two friends of mine who had not seen it before and they were riveted by it as a serious depiction of abuse,” Hoff told me. “Their response was not what I expected. They did not see it as camp. And then I know some people who have watched the film hundreds of times and will always enjoy it as camp.”

Diana Scarwid as Christina in Mommie Dearest

So what makes Mommie Dearest so campy to some people, especially gay men? Well, the exaggerated moments in Dunaway’s performance are definitely one factor, and none more so than when she angrily crosses her eyes while her face is smothered kabuki-like in white cold cream. The screenplay also features some enjoyably harsh dialogue spoken by both mother and daughter Crawford that is undeniably fun to shout out with them.

In his book, Hoff quotes critic and Palm Springs resident Marc Huestis regarding the film’s popularity in the gay community to this day. “Gay guys have a thing for their mothers, let’s face it,” Huestis said. “I had a relationship with my mom, who was in show business as well, that was very much physically abusive like the one in Mommie Dearest; my mother actually did hit me with wire hangers… So just seeing that scene, the laughter was a release from the ghost of not only Joan Crawford but my own mother.”

Whether we love it, hate it and/or laugh at it, Mommie Dearest continues to stand the test of time for various reasons. I highly recommend reading A. Ashley Hoff’s new book for his detailed, insightful exploration of these… but not before you’ve trimmed your rose bushes in the middle of the night and/or bought stock in Pepsi Cola!

Author photo credit Atila Sikora.

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

Reverend's Reviews: Women Rule On & Off Broadway

Good for you if you've seen the award-winning musical Six, either on Broadway or on tour. But that show proves to be soooo 2021 when compared to three bold, female-centric new musicals currently reigning over the NYC theatre scene. They've also been nominated for multiple New York critics' awards in recent days, with potential Tony Award nominations pending for two of them later this week.

Teeth, adapted from Mitchell Lichtenstein's generally acclaimed but definitely challenging (especially if you are male) 2008 film, recently had its world premiere at Playwrights Horizon. The movie's plot involving a teenage girl who develops a rare case of vagina dentata hardly screams out "musical material," but co-writers Michael R. Jackson (of A Strange Loop and White Girl in Danger fame, both of which I loved) and Anna K. Jacobs ran with the possibilities they perceived.

Their graphic yet humorous adaptation follows the film closely until the final third, when it becomes an over-the-top, dystopian tale of newly-empowered women avenging themselves against men... by chomping off their penises and making them obedient zombies! Jackson's lyrics for songs with such titles as "Modest is Hottest" and "According to the Wiki" are typically clever, and the musical is well supported by Sarah Benson's direction and Raja Feather Kelly's choreography. Jeremy Chernick's special effects, which include a climactic onstage inferno, are also worth noting.

Sorry for the short notice, but Teeth did close yesterday after being extended twice. I'm hopeful it will have a robust life in regional and/or community theaters in the future.

Choreographer Raja Feather Kelly also has a sizable hand in Lempicka, the truly stunning musical that just opened on Broadway. It is inspired by the dramatic life of early-20th century painter Tamara de Lempicka, about whom I knew very little when I entered the Longacre Theatre. I exited the theatre 2 ½ hours later thoroughly enlightened, inspired and entertained.

A revealing book and stylistically diverse songs, both co-written by Carson Kreitzer and Matt Gould, depict the title artist's journey from Revolution-era Russia to Paris through World War II. She ultimately ends up elderly and unknown in 1970's Los Angeles. Lempicka was married to a man, with whom she had a daughter, but also enjoyed relationships with women. Last but not least, she became and is remembered today as a groundbreaking painter.

Director Rachel Chavkin (an award winner for both Hadestown and Natasha, Pierre & the Great Comet of 1812) applies her typically bold, engrossing style to this bio-musical. Kelly's choreography is stylish and energetic, although the use of dance struck me as fairly constant and overly busy during the first half of act one. The actors, however, are the true stars here, which is as it should be. Star Eden Espinosa was out of the performance I saw due to illness but her standby/understudy, Mariand Torres, was sensational even though she reportedly had little full-show or full-cast rehearsal time beforehand. Amber Iman, as Lempicka's model/lover Rafaela, was no less potent. Other standouts among the hard-working cast were Andrew Samonsky, George Abud, Natalie Joy Johnson and, of course, Tony Award-winner Beth Leavel in a couple of roles. Leavel reduced the audience to tears with her beautiful 11 o'clock number, "Just This Way."

It's a bit early to know how Lempicka might fare long-term. Successful musicals not based on a movie, a book and/or a political figure are pretty rare nowadays. A significant number of Tony Award nominations on April 30th would help raise its profile. I certainly wish this important, exciting show a long run on Broadway, on tour, and beyond.

Suffs is the other estrogen-fueled, newly-opened Broadway musical. Its title is short for suffragists, those early-20th century American women who fought for the right to vote when only men were allowed to do so. Readers of a certain age may have previously learned about them via the "Sufferin' Til Suffrage" Schoolhouse Rock cartoon and song.

This new musical was written by singer-songwriter Shaina Taub, who also headlines the all-female and non-binary cast (taking a cue from last season's Broadway revival of 1776) as real-life suffragist leader Alice Paul. Taub doesn't have the most commanding stage presence but plenty of dramatic electricity is provided by her fellow cast members Nikki M. James (a Tony winner for The Book of Mormon), Jenn Colella (a Tony nominee for Come From Away) and others. I also applaud director Leigh Silverman for casting some disabled actors.

Suffs is a more traditionally scored and staged production than the other shows reviewed here, which perhaps makes it more crowd-pleasing. I expect it to make a strong showing when Tony Award nominations are announced tomorrow. Taub's songs are serviceable if not particularly memorable save for the climactic "Keep Marching." Ditto re: Mayte Natalio's choreography. I highly recommend the show, though, as both a valuable history lesson and a pleasant theatre-going experience.

Reverend's Ratings:
Teeth: B+
Lempicka: A
Suffs: A-

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