2-for-1 Shows During Broadway & Off-Broadway Weeks

David Coomber and Nick Wyman in “Bullet for Adolf.” Photo by Carol Rosegg.

BY TAMARA BECK

IN 1952, Argentina was enthralled with its charismatic first lady, Eva Peron, when she died tragically at the age of 33. “Evita” is about political intrigue, ambition and sex appeal.

Andrew Lloyd Webber and Tim Rice based their masterwork, in an imperfect and interesting revival at the resplendent Marquis Theatre, on the accounts of worshipful crowds mourning her loss. (http://www.bit.ly/R791zb; see video below).

From Tuesday (4 Sept.) through 16 Sept., tickets to “Evita” – starring Ricky Martin, Elena Roger and Michael Cerveris – and nearly a score of Broadway shows are two for the price of one. That’s right, a twofer.

As if sponsors NYC & Company&partners, need to sweeten the Broadway Week 2012 deal, there’s even a list of 25 Broadway-area restaurants that are offering free dessert after dinner to all who show ticket stubs from a Broadway show.

This goes for the high-flying “SPIDER-MAN: Turn off the Dark,” too. The original tale in this Broadway musical based on an iconic comic book figure may be a bit muddled but the stunts are big-top spectacular. (http://www.bit.ly/QPm51y; see video above.)

Meanwhile, politics and puppets definitely make strange bedfellows in “Avenue Q,” which tells savvy and adorable life-stories and love-stories about post-college life in New York City, acted out by humans and their fuzzy mouthpieces.

In 2004, that combo garnered a Tony Best for the creative team of Robert Lopez, Jeff Marx (concept as well as music and lyrics) and Jeff Whitty (book). "Avenue Q" is a hip, funny show that particularly targets 20-somethings. In its Broadway run, it did not resonate with this reviewer, but at its new smaller digs, it was a thrill to watch.

NYC & Company and a different lineup of partners are also offering twofers during off-Broadway Week 2012. “Avenue Q” is joined by 29 others in the 17-30 Sept. deal.

For those who prefer being closer to the action, off-Broadway offers a more intimate theatrical experience. It’s the size of the house (100-499 seats), not its proximity to the Great White Way that defines off-Broadway, by the way.

While off the Way find out why the world’s longest-running musical, “The Fantasticks,” is still kickin’ it after 42 years. Maybe it’s the beautiful songs in this "Romeo and Juliet" tale that has given it such lasting appeal. “Try to Remember” is just one classic from the show. (See video below).

For newer off-Broadway fare, “Bullet for Adolf” could be just the entertainment. Woody Harrelson and Frankie Hyman have written an offensive and lovable slapstick. (http://www.bit.ly/UjuRUq)

The 2-for-1 deals are pretty straightforward propositions. Get your tickets now for the participating Broadway Week shows and from Tuesday onward for off-Broadway Week. No standing in line on the day of; during the promotion see as many of the participating shows as you want.

That means, let’s face it, all of September can be your own little theater festival.

Visit http://www.nycgo.com/broadway to learn more about Broadway Week 2012 and http://www.nycgo.com/offbroadway to learn more about Off-Broadway Week 2012.

On Celebratory Watch: Donald, Blair, Željko and Others

Carlos Gomez, Priscilla Lopez and Lin-Manuel Miranda in "In the Heights." Photo courtesy of "In the Heights."

BY TAMARA BECK

IN New York City it seems there's likelihood for close encounters of the celebrity kind almost any given day.

Hubby Burt and this celeb-sighter try to make the most of all of our encounters. In fact, BB's heartfelt mantra is to always talk up the famous he meets.

For instance, he ran into traffic to shake hands with Donald Sutherland who was hailing a cab. On occasion, it seems better not to intrude. Diahann Carroll appeared to be entertaining her grandchildren at the Omni Berkshire Hotel on a recent afternoon. DC could be heard asking their mom if she could bring them up to her room for a visit. DC was lovely, petite and brimming with a wonderfully expansive theatricality.

He was easily recognizable, despite the peaked cap, so when he came in to tell the hostess at 5 Napkin Burger that he and his party would be dining outside, it was hard to remain silent. “You’re braving the cold.”

“Oh, no, it’s really very nice out there,” Blair Underwood said along with a handshake

BU could not have been friendlier or more gorgeous during a dinner break between his Saturday performances as Stanley Kowalski in "A Streetcar Named Desire,” which reportedly may play London in the fall. "Come see us over there. We're having so much fun!" said BU who is still as trim and youthfully handsome as he was when he appeared on "LA Law." (See the opening night video at right).

Mention of a chat with "LA Law" costars Michael Tucker and Jill Eikenberry at a performance of "I Married Wyatt Earp" (http://www.bit.ly/QTCv97), elicited general agreement about the couple’s loveliness, though BU admitted he had not seen them in some time.

Željko Ivanek in Slowgirl. Photo by Erin Baiano.

It’s always a treat to run into “celebrity” actors, but how to approach? A case in point is Željko Ivanek. He is a quiet and self-effacing man whose characters in great TV such as “Homicide: Life on the Streets,” “Oz” and “Damages,” among others, are often far more flamboyant than the man himself. Compliments are always welcome, and in this case extremely easy to give. “I loved “Slowgirl,” just loved it.” The lame but true comment was met by an almost inaudible, “Thank you.” The much more effervescent Garrett Morris, currently starring in “2 Broke Girls,” accepted a similar accolade with a much heartier thanks.

Priscilla Lopez, performing as Camilla in “In The Heights,” was cornered at a Duane Reade. She was chatty and gracious, even when asked good-naturedly, “How do you remember all those lines?,” by someone who admires the mad chops that actors exhibit on every stage.

“You remember your phone number, don’t you?,” she replied without missing a beat.

That’s easy for you to say, Priscilla.

Don't Cry, ' ... the Money Keeps Pouring In' for 'Evita'

Elena Rogers as the titular heroine with the Company in "Evita." Photos by Richard Termine.

BY TAMARA BECK

ONE of the reasons we value theater as an art form is that it enriches us. Sometimes, the fact that it also lightens our wallets has a dilatory effect on the experience.

A case in point is the current revival of the Andrew Lloyd Weber/Tim Rice masterpiece, “Evita.” Of course, it is not only the high ticket prices that inflate expectations that lead to disappointment. “Evita” won the Tony in 1980.

Fond memories of the original Broadway production starring Patti LuPone in the titular role and Mandy Patinkin as Che added to the letdown brought on by the current production in an open run at the Marquis Theatre.

The story of “Evita” takes Eva Duarte (Elena Roger) out of a backwater slum to shiny Buenos Aires where she woos and marries Col. Juan Peron (Michael Cerveris).

In “Evita,” it is clear that while the colonel is the up-and-comer, it is Eva who is the consummate populist politician. Eva Peron ascends her “throne” as the First Lady of Argentina through her wiles and naked opportunism. As ALW and TR discovered in their research of the real-life diva, she is adored and sanctified. (See videos at http://www.evitaonbroadway.com/videos.html)

Juan Peron (Michael Cerveris) is wholly captivated by Eva (Elena Roger) who would become an icon in "Evita."

The songs in this operatic musical play off of Evita’s glamour and star power. They are smart, well-written and cheeky. Puns and anachronisms make for a lively narrative delivered by Che (Daniel Torres understudying for Ricky Martin) as the storyteller. RM is meant to provide some added razzle-dazzle to “Evita,” but DT was a more than adequate sub. In the current iteration, most of the pizzazz is in the music and libretto.

Despite her rather weak singing, ER’s “Don’t Cry for Me, Argentina” rose to the high point in the performance. Admittedly, ER is an adept dancer, and the company also moves beautifully through the tango-inflected choreography by Rob Ashford.

The most noteworthy performances are by Max von Essen as Magaldi, the two-bit crooner whom Eva uses to get away to the big city. Another is Rachel Potter as the Peron mistress Eva displaces. Alas, the Tony-winning MC (“Assassins”) is not up to his usual standard in his portrayal of Juan Peron.

Slum dweller Eva Duarte (Elena Roger) uses Che (Ricky Martin) as a pawn in her scheme to get to the big city and bigger things in "Evita."

The minimalist sets by Christopher Oram (who is also responsible for the excellent costumes) are lost on the cavernous stage at the Marquis. In a smaller setting the re-purposing designed to suggest many a scene – from nightclub to hotel to presidential palace – would have been clever.

The second-act song about Eva’s charities with the lyric, “And the money kept pouring in,” becomes an unwelcome reminder that the seats are very expensive. It harks to the unfortunate complaint that the high cost of seeing this show added to the disappointment in the production.

Visit http://www.evitaonbroadway.com/ to learn more about “Evita.”