this week in theater

TICKET GIVEAWAY: COUGAR THE MUSICAL

The cougar phenomenon is explored in new musical (photo by BittenByAZebra)

COUGAR THE MUSICAL
St. Luke’s Theatre
308 West 46th St. between Eighth & Ninth Aves.
Previews begin August 10 prior to an August 26 opening, $39.50-$89.50
cougarthemusical.com

In Cougar the Musical, three older women, Clarity (Brenda Braxton), Lily (Catherine Porter), and Mary-Marie (Babs Winn), set their sights on a series of younger men, Buck, Twilight Dude, Bourbon Cowboy, Eve, and Naked Peter, all played by hottie Danny Bernardy. Written and composed by former Zoom cast member Donna Moore and directed and choreographed by Tony nominee Lynn Taylor-Corbett, the show, expanded from Moore’s two-person cabaret, features such songs as “Mother’s Love,” “Let’s Talk About Me,” “On the Prowl,” and “Love Is Ageless.” To find out more about the show and its creator, read our twi-ny talk with Moore here.

TICKET GIVEAWAY: Cougar the Musical begins previews on August 10 at St. Luke’s Theatre, with the official opening slated for August 26, and twi-ny has three pairs of tickets to give away for free. Just send your name, daytime phone number, and all-time favorite show or movie about a May/December romance to contest@twi-ny.com by Monday, August 13, at 12 noon to be eligible. All entrants must be twenty-one years of age or older; three winners will be selected at random.

TWI-NY TALK: DONNA MOORE

Former child star Donna Moore treads into cougar territory in new musical

COUGAR THE MUSICAL
St. Luke’s Theatre
308 West 46th St. between Eighth & Ninth Aves.
Previews begin August 10 prior to an August 26 opening, $39.50-$89.50
cougarthemusical.com

Cougars are hot hot hot these days, and the same can be said for Donna Moore. A stunning fortysomething single mother of two, Moore has revamped her two-person cabaret show about older women with a thing for younger men into Cougar the Musical, a full theatrical production that begins previews at St. Luke’s on August 10 prior to an August 26 opening. The NYU grad, who starred on the children’s television series Zoom back in the mid-1970s, has teamed up with Tony-nominated director and choreographer Lynne Taylor-Corbett to present the sexy story of a trio of older women (Brenda Braxton, Catherine Porter, and Babs Winn) who have the hots for a series of young studs with such names as Buck, Twilight Dude, Bourbon Cowboy, and Naked Peter (all played by Danny Bernardy). The perennially upbeat Moore, who battled Lupus after giving birth to her first child, is also an affirmationist who believes strongly in the power of positive thinking, telling herself such mantras as “I love and accept myself exactly as I am,” “I am forgiven as I forgive others,” and “I am connected to the flow of life.” Moore discussed Cougar, young studs, Lupus, and more in our latest twi-ny talk. (For a chance to win free tickets to see Cougar the Musical, go here.)

twi-ny: You were a cast member on Zoom back in the mid-1970s. At the time, did you anticipate a future in the entertainment business?

Donna Moore: I started performing when I was nine as a modern dancer and all I know is that something would happen when I would get on stage — like this free spirit that was my higher self would channel through me and a nine-year-old was transformed into an ageless, graceful creature. After Zoom, I always knew I wanted to continue to perform, but I think I was more concerned about survival from my childhood fame in a city public school (I was beaten up and threatened on a daily basis in junior high) to think about my future as a performer.

twi-ny: Cougar the Musical goes back to a cabaret you performed with Danny Bernardy back in 2007. How did it develop into a bigger musical with a full cast and crew?

Donna Moore: “The Cougar Cabaret” came out of a co-creation with R. K. Greene (who is now one of my “above line” associate producers). I had a cabaret show about my divorce that ran for a year called “The unBalancing Act” and the eleventh-hour number was a song called “The Cougar” that I cowrote with John Baxindine. It brought the house down every night, and one evening R.K was in the audience with Olson Rhodes (my current and wonderful GM) and they discussed how if I wrote a whole show about the cougar, how R.K would get behind me and coproduce.

“The Cougar Cabaret” came ran for one and a half years with my beloved Danny Bernardy. We each played three different characters. (I also played his Jewish mother from Boca who wasn’t too happy her son was dating a woman old enough to be her sister, “my older sista . . . it’s just wr-aw-ng!”) The show got a lot of buzz and there were a number of Broadway producers who said if I developed it into a larger book play they would get behind me. It took threes years (a number of separate book musicals and thirty songs later) and my partnering with director and dramaturg Lynne Taylor-Corbett [LTC] to turn the two-person, six-character cabaret script into a fully fleshed (no pun intended) four-person script.

In cabaret and stand-up, you can talk to the audience, tell it like it is, but I had to work painstakingly and determinedly to show the character development and not tell. I do credit LTC with helping me become a playwright worth her salt.

A trio of women have a thing for young studs in COUGAR THE MUSICAL (photo by BittenByAZebra)

twi-ny: What do you think of the whole Cougar phenomenon in general? What’s the difference between a cougar and a MILF?

Donna Moore: I’ll start with the easiest and then get deep on you: A MILF can be a cougar but a cougar cannot necessarily become a MILF. A MILF is required to be a mother and it’s incumbent upon the young men around her, who are friends with her teenage child, to desire this older woman, so it’s a “passive” term. A cougar is not necessarily a mom, and her cougar status has less to do with a young man desiring her as it has to do with the empowered woman desiring the young man.

I’ve been working on this project for eight years and have been interviewed by national magazines and newspapers as a “cougar expert” because of my cabaret show, lol, and there have been so many twists and turns but one thing that remains the same is my take on this cougar phenomenon. I believe the sociopolitical reason we are fixated on the cougar/older woman is that as a collective whole, we are yearning to embrace a more matriarchal system after a millennia of patriarchal dictation. And the “cougar” represents the medicine woman and the intuitive healer that older women used to represent in older societies. I believe that women have a chance to say “yes” to their innate sacred power and the access to that is to “embrace the sacred feminine” in all of us.

twi-ny: Speaking of sacred power, you are a strong believer in the healing properties of affirmations. Why do you think they work?

Donna Moore: I believe that life is holistic and metaphysical and that our experience is made up of mental, spiritual, and physical components that all exist as one whole. The thoughts you think create results, the context of which one thinks creates an attitude that serves well-being or shoots you in the foot, literally.

After the birth of my first child (who is turning twenty-two in November), I was diagnosed with Lupus, a horrible autoimmune disease where your immune system attacks your body and sees itself as a foreign threat. I was very sick, with horrible joint pain, unending fatigue, and depression. I had to crawl up the stairs and had no energy to do anything but sleep. I was only twenty-nine. I decided to take a spiritual approach and rid myself of my dis-ease. I refrained from any sort of gossip, I started to eat organically, and I submerged my consciousness with 100% positivity. I actively repeated affirmations of self-love and acceptance, ones that viscerally changed my state of being, and, happily, I was able to cure myself of Lupus. The ANA antibody is no longer positive, I was able to have a second child, and I have not experienced symptoms in over twenty years.

So yes, I believe affirmations are a powerful metaphysical medicine . . . or for those who may not be as a open-minded, it is a way to change your state into one that supports growth and happiness.

twi-ny: You are a vivacious fortysomething mother of two, prime cougar territory. Do you have any personal cougar stories you’re willing to share?

Donna Moore: I did date a man nine years my junior on and off for eight years. However, I never felt like I was older than he. . . . We were just two people who connected.

TICKET GIVEAWAY: TRIASSIC PARQ

Musical spoof offers a new take on Crichton and Spielberg’s JURASSIC PARK (photo by Carol Rosegg)

TRIASSIC PARQ: THE MUSICAL
SoHo Playhouse
15 Vandam St.
Through August 5, $69.50 – $79.50 ($39.50 with discount code TPREDFF here or at 212-352-3101)
triassicparq.com

Sharing the award for Overall Production/Musical at the 2010 Fringe Festival, Triassic Parq is a playful adult parody of Michael Crichton’s 1990 novel and Steven Spielberg’s 1993 film, Jurassic Park, which was followed by two sequels, with a third long in the works. Written by composer and director Marshall Pailet, Steve Wargo, and Bryce Norbitz and choreographed by Kyle Mullins, Triassic Parq: The Musical has fun with interspecies fornication and other elements that Crichton and Spielberg only hinted at. The current production stars Lindsay Nicole Chambers as the Velociraptor of Science, Wade McCollum as the Velociraptor of Faith, Alex Wyse as the Velociraptor of Innocence, Brandon Espinoza as Mime-a-saurus, Shelley Thomas as T-rex 1, Claire Neumann as T-rex 2, music director Zak Sandler as Pianosaurus, and Lee Seymour as narrator Morgan Freeman. The show also involves a certain amount of audience interaction, especially for those seated on the stage.

TICKET GIVEAWAY: Triassic Parq: The Musical runs through August 5 at the SoHo Playhouse, and twi-ny has three pairs of tickets to give away for free. Just send your name, daytime phone number, and all-time favorite dinosaur movie to contest@twi-ny.com by Thursday, July 26, at 12 noon to be eligible. All entrants must be twenty-one years of age or older; three winners will be selected at random.

SLOWGIRL

Željko Ivanek and Sarah Steele make a powerful team in Greg Pierce’s beautifully done SLOWGIRL (photo by Erin Baiano)

Claire Tow Theater
LCT3/Lincoln Center Theater
150 West 65th St.
Extended through August 5, $20
www.lct.org

Lincoln Center has inaugurated its new low-price, 112-seat Claire Tow Theater, which sits above the Vivian Beaumont and Mitzi E. Newhouse, with the world premiere of Greg Pierce’s wonderful two-character Slowgirl. After being blamed for a high school tragedy back home, seventeen-year-old Becky (Sarah Steele) is sent off to spend a few days with her reclusive uncle Sterling (Željko Ivanek), a divorced lawyer who has been living by himself in a shack in the jungles of Costa Rica for nine years. Whereas Becky is outgoing and seems to never be able to shut up and relax, Sterling chooses his words far more carefully, as if each one pains him to say out loud, while wincing at Becky’s openness and questionable language. The two very different people eventually bond over smoothies and iguanas as Becky talks about what happened to her somewhat off classmate known as Slowgirl, who was seriously injured at a graduation party, and Sterling discusses the events that ultimately led him into the jungle.

The reclusive Sterling (Željko Ivanek) is forced to face some dark secrets in SLOWGIRL (photo by Erin Baiano)

Emmy winner and multiple Tony nominee Ivanek, most well known for recurring roles on such television series as Homicide, Damages, and Oz in addition to stage appearances in such shows as The Caine Mutiny Court-Martial and Brighton Beach Memoirs, is mesmerizing as Sterling, a pent-up bundle of nerves who can barely get the words out of his mouth, while Steele (All-American, Russian Transport) is delightful as Becky, a fast-talking teen with no filter, spitting out whatever’s on her mind. Rachel Hauck’s main set, Sterling’s open-air shack, rises at one point to reveal a labyrinth Sterling built to help him silently concentrate and focus, something Becky seems incapable of doing. Leah Gelpe’s sound design includes animal and bird noises that make the audience feel like they’re in the middle of the jungle, while Anne Kauffman’s (This Wide Night, Thugs) direction seamlessly weaves the characters and story together. Pierce (The Wind-Up Bird Chronicle) has written a compelling, intelligent, splendidly nuanced hundred-minute drama that is filled with small surprises and little touches that serve as a terrific introduction to Lincoln Center’s intimate new theater, which is dedicated to works by emerging playwrights, directors, and designers, with tickets for all productions only $20.

THE MOBILE SHAKESPEARE UNIT: RICHARD III

Multiple locations July 17 – August 3, free
The Public Theater’s LuEsther Theater
425 Lafayette Ave.
August 6-25, $15 general admission
212-967-7555
www.publictheater.org

In the summer of 1957, Joseph Papirofsky literally brought Shakespeare to the masses, trucking through all five boroughs to present a free outdoor production of Romeo and Juliet. The theater guru would soon shorten his last name to Papp and create the world famous New York Shakespeare Festival, which has been presenting high-quality free shows in Central Park’s Delacorte Theater for fifty years now. But the traveling Bard road show is back, as the Public Theater’s Mobile Shakespeare Unit is up and running, spending the next three weeks performing Richard III at locations where people have limited access to the arts (after having presented Measure for Measure last November). The unit will pay visits to such venues as the Jamaica Service Program for Older Adults on July 17, Charlotte’s Place on July 18, the Eric M. Taylor Center on Rikers Island on July 19, the Al Oerter Recreation Center on July 20, the Brownsville Recreation Center on July 24, the Fortune Society on July 26, the Goddard Riverside Community Center’s the Other Place on July 27, the Fort Hamilton Army Base on August 3, and several correctional facilities; some stops will also include educational workshops. Directed by Amanda Dehnert, who also composed the original score, the play stars Ron Cephas Jones as the villainous title character, with Kevin Kelly as Edward, Miriam Hyman as Clarence, Michael Crane as Buckingham, Keith Eric Chappelle as Hastings, Michelle Beck as Anne, Suzanne Bertish as Margaret, Alex Hernandez as Catesby, and Lynn Hawley as Elizabeth. Linda Roethke designed the set and costumes. The production will then move indoors August 6-25 at the Public, with all tickets $15 except for twenty per performance that will be donated to community organizations that were not part of the tour.

CALYPSO: A LITERARY PERFORMANCE BY PAUL ROME AND ROARKE MENZIES

Bushwick Starr
207 Starr St., Brooklyn
July 13-14, $10-$15, 8:00
646-361-8512
thebushwickstarr.org

In the spring of 2011, Brooklynites Paul Rome and Roarke Menzies presented the one-act Calypso at the Storefront Gallery in Bushwick. Then, this past May, they presented a sold-out, extended evening-length version of the production at the Bushwick Starr, where it is back again July 13-14 by popular demand. Calypso sets a modern-day romance against elements from Homer’s Odyssey and Virgil’s Aeneid. As a young man and woman bond over Haruki Murakami and old calypso records in the West Village, Penelope waits for her husband, and Aeneas considers his future atop Mount Olympus. The show is written by Rome, inspired by such monologists as Joe Frank and Spalding Gray, with experimental electronic music supplied by Menzies. Rome and Menzies, who will read alternating narratives, have previously collaborated on And Once Again . . ., about a jazz record collector about to make a big score, and The You Trilogy.

CLYBOURNE PARK

In 1959, a community is at odds when a black couple is about to move in (photo by Nathan Johnson)

Walter Kerr Theatre
219 West 48th St.
Extended through September 2, $30 – $220
clybournepark.com

The best plays stay with you long after you leave the theater, making you think and encouraging an ongoing dialogue. Bruce Norris’s Clybourne Park is one such play. As we exited the theater, my guest and I got into a heated discussion about several of the issues the complex story raises, for nothing about Clybourne Park is black and white, yet everything about Clybourne Park is black and white. Winner of the Tony and the Olivier for Best Play as well as the Pulitzer Prize, Clybourne Park is divided into two distinct halves that are cleverly linked in both obvious and subtle ways by writer Norris (The Infidel, Purple Heart) and director Pam MacKinnon (Completeness, The Four of Us). Inspired by A Raisin in the Sun by Lorraine Hansberry, the first black playwright to have her work produced on Broadway, Clybourne Park opens in 1959, as Russ (Frank Wood) and Bev Stoller (Christina Kirk) are preparing to leave their lily-white neighborhood shortly after a family tragedy. When Karl Lindner (Jeremy Shamos) finds out that their house is being sold to a black couple, he tries to convince Russ not to go through with the deal, worried about what will happen to property values and afraid of potential white flight. Meanwhile, Albert (Damon Gupton) comes to the house to pick up his wife, Francine (Crystal A. Dickinson), who works as the Stollers’ maid, and he is not afraid to throw in his own two cents. As things threaten to explode, Karl’s wife, Betsy (Annie Parisse), a deaf woman who is pregnant, can’t quite understand why everyone is getting so mad at one another, and Rev. Jim (Brendan Griffin) finds that church doctrine is not going to help solve this problem either.

In 2009, a community is at odds when a white couple is about to move in (photo by Nathan Johnson)

The second act takes place fifty years later, in 2009, as a white couple, Steve (Shamos) and his pregnant wife, Lindsey (Parisse), have bought the very same house, now dilapidated, from a black couple, Lena (Dickinson) and Kevin (Gupton). As ditzy real estate agent Kathy (Kirk) shares some interesting tidbits about the changing nature of her business, the two couples are soon involved in a nasty battle that centers on the one word nobody wants to say: race. Clybourne Park is an extremely cleverly written play, tackling long-standing racial issues with intelligence, sensitivity, and humor. Having the actors play dual roles furthers direct comparison between the past and the present. Early in the second act, Steve is asked whether Lindsey is pregnant with a boy or a girl; while Steve knows the answer, Lindsey still wants to be surprised, so she puts her fingers in her ears and makes silly noises so as not to hear, echoing the deaf Betsy portrayed by Parisse in the first act. In the 1959 section, Russ is not ready to bring down a sentimental object from the attic; in 2009, hired hand Dan (Wood) is digging up the backyard, getting ready to potentially raze the house, much to the consternation of Lena, Kevin, and local resident Tom (Griffin), who is trying to address community rules. There are other fascinating, well-plotted similarities between the characters that the actors play in the first act with those they portray in the second act, giving the production a continuity that also shows how difficult it is for people to accept and adapt to change, no matter their race or religion. Clybourne Park is a smartly told story that clearly points out how far we truly are from a so-called post-racial society, a play that will stay with you for a very long time. (As an added bonus, the Lincoln Center Theater Review has dedicated its entire spring issue to the play, with pieces written by Paul Clemens, Beryl Satter, Bill Savage, and Patricia and Fredrick McKissack, an interview between Norris and John Guare, an interview with an anonymous real estate broker, and more; you can pick up a copy at the Walter Kerr Theatre for a dollar or download it for free here.)