Tag Archives: Danny Burstein

DESCRIBE THE NIGHT

Nikolai Yezhov (Zach Grenier) and Isaac Babel (Danny Burstein) begin a dangerous friendship in Describe the Night (photo by Ahron R. Foster)

Atlantic Theater Company
Linda Gross Theater
336 West 20th St. between Eighth & Ninth Aves.
Tuesday – Sunday through December 24, $51-$86.50
866-811-4111
atlantictheater.org

At the beginning of Rajiv Joseph’s extraordinary Describe the Night, Isaac Babel (an almost unrecognizable Danny Burstein), a military journalist covering the Polish-Soviet War in 1920, has stopped in the Polish countryside and says to himself, “Describe the night . . . Describe the air . . . Describe the field . . .” as he unsuccessfully tries to capture their essence in his diary. He is soon joined by Russian captain Nikolai Yezhov (Zach Grenier). “The night. Describe it,” Isaac says. “Why?” Nikolai asks, dumbfounded. Isaac explains, “I just described it in my journal. I’m wondering how you would describe it. And if we both describe the same thing at the same time, will one of our descriptions be more true than the other?” Joseph’s follow-up to Guards at the Taj and Bengal Tiger at the Baghdad Zoo is a glorious, difficult-to-describe work that searches for the truth amid many lies, melding fact and fiction in creating a wildly unpredictable, endlessly adventurous tale that is as historical as it is contemporary. (At one point, a character says, “Go ahead, write your fake news story.”) The swiftly moving 165-minute play is told in three acts of four scenes each, featuring such titles as “Lies,” “Fate,” “Blood,” “Asylum,” and “Freedom,” shifting back and forth between 1920, 1937, 1940, 1989, and 2010, from Smolensk to Moscow to Dresden. As Isaac becomes a successful and well-respected writer, he maintains an odd friendship with Nikolai, who rises in the ranks of Stalin’s secret police; Isaac also has an extra-close relationship with Nikolai’s wife, Yevgenia (Tina Benko). Meanwhile, in 1989 Dresden, Russian KGB agent Vova (Max Gordon Moore) is determined to not let young Polish immigrant Urzula (Rebecca Naomi Jones) defect to the West, for both personal and political reasons. And in 2010, a plane flying from Poland to Russia to honor the seventieth anniversary of the Katyn Massacre in WWII crashes in Smolensk, setting journalist Mariya (Nadia Bowers) on the run, where she encounters young Feliks (Stephen Stocking), who just wants to avoid trouble. Through the years, various characters and their stories intersect in unexpected ways as Isaac’s diary makes its way around the world.

Rajiv Joseph’s Describe the Night climbs high at the Atlantic (photo by Ahron R. Foster)

Continuing at the Atlantic through December 24, Describe the Night is a gorgeously ambitious play, continually challenging the audience with its unconventional twists and turns. Director Giovanna Sardelli, who has previously collaborated with Joseph on Archduke and Guards at the Taj, brilliantly navigates through the multiple time periods and Tim Mackabee’s mostly simple but effective changing sets. Six-time Tony nominee Burstein (Fiddler on the Roof, The Drowsy Chaperone) is gentle and touching as Isaac, a man who believes that his principles will triumph over tyranny; Tony nominee Grenier (33 Variations, The Good Wife) is an excellent counterpoint, loud and blustery as Nikolai, a proud but uncomplicated man who is able to overlook friendship when necessary for the sake of the party. Benko (Scenes from a Marriage, Desdemona) excels as the strangely mysterious Yevgenia, while Stocking (Archduke, Dance Dance Revolution) embodies all of our everyday fears with an intense quirkiness. The Playbill comes with an extra sheet that details the true stories of Isaac, Nikolai, Yevgenia, and the Smolensk crash; be sure not to read it until after the show to fully appreciate the artistic license Joseph takes in transforming this tale into so much more. “You’re a media person, and so you you you love to make up stories that are more interesting than what the truth is and what the truth is that sometimes planes try to land in a heavy fog over a forest and then hit trees and crash,” Feliks tells Mariya. So how to succinctly describe Describe the Night? Truthfully, it’s indescribable.

SHAKESPEARE IN THE PARK: A MIDSUMMER NIGHT’S DREAM

Annaleigh Ashford steals the show as Helena in Shakespeare in the Park presentation of A Midsummer Night’s Dream (photo by Joan Marcus)

Central Park
Delacorte Theater
Tuesday-Sunday through August 13, free, 8:00
shakespeareinthepark.org

Since 2013, Public Works founder and resident director Lear deBessonet has presented special short-run summer productions of classic works at the Delacorte Theater consisting of professional and nonprofessional actors, with casts of more than two hundred men, women, and children, from community organizations from all five boroughs in addition to theater veterans. The Public Theater initiative has included musical adaptations of The Tempest, The Winter’s Tale, Twelfth Night, and The Odyssey. DeBessonet also directed Bertolt Brecht’s Good Person of Szechwan indoors at the Public’s Martinson Hall. But now the thirty-something Baton Rouge native and longtime Brooklynite is moving to one of the Public Theatre’s largest and best-loved programs, making her Shakespeare in the Park directorial debut. She’s helming the Bard’s A Midsummer Night’s Dream, which would appear to be a terrific vehicle for her sensibilities but which turns out to be a mixed bag, though still fun. The romantic comedy is one of Shakespeare’s most delightful and well-structured plays, with four intersecting plots dealing with the notion of love in all its forms. Theseus, the Duke of Athens (Bhavesh Patel), is preparing to wed Hippolyta, queen of the Amazon (De’Adre Aziza). Hermia (Shalita Grant) is in love with Lysander (Kyle Beltran), but her father, Egeus (David Manis), insists that she marry Demetrius (Alex Hernandez) or face severe punishment. Helena (Annaleigh Ashford) is madly in love with Demetrius, who has no interest in her. Meanwhile, an acting troupe of artisans known as the Mechanicals — carpenter Peter Quince (Robert Joy), weaver Nick Bottom (Danny Burstein), bellows mender Francis Flute (Jeff Hiller), tinker Snout (Patrena Murray), joiner Snug (Austin Durant), and tailor Robin Starveling (Joe Tapper) — have come to Athens to put on a production of Ovid’s Pyramus and Thisbe, about a pair of Babylonian lovers, a wall, and a lion, but professionalism is not their forte. And deep in the forest are the Fairies, including King Oberon (Richard Poe) and Queen Titania (Phylicia Rashad), who are battling over a changeling boy (Benjamin Ye), along with Robin Goodfellow, better known as Puck (Kristine Nielsen), Peaseblossom (Vinie Burrows), Cobweb (Manis), and Mustardseed (Warren Wyss). Magical elixirs, mistaken identity, and animal transformation ensue. “The course of true love never did run smooth,” Lysander tells Hermia. And Puck declares, “Lord, what fools these mortals be!”

Titania (Phylicia Rashad) finds a strange bedfellow in Nick Bottom (Danny Burstein) in Bard show at the Delacorte (photo by Joan Marcus)

A Midsummer Night’s Dream practically demands to be performed outside, and the Delacorte is a splendid home for it. Tony winner David Rockwell’s (She Loves Me) fairy-tale set features three lush green trees, a movable stone wall entranceway, a tree house where the band plays, and a playground slide amid the clouds, stars, flying insects, and backstage raccoons. The fab costumes, including a glamorous shout-out to Beyoncé, are by Tony winner Clint Ramos (Eclipsed). Tony winner Ashford (Kinky Boots, You Can’t Take It with You) steals the show as Helena, once again displaying her spectacular aptitude for physical comedy; her line deliveries, facial expressions, and wacky movements make the production worthwhile all on their own. Six-time Tony nominee Burstein (Fiddler on the Roof, Cabaret) has a ball as Bottom, who is turned into a donkey, although the play-within-a-play drags on a bit too long. Casting senior citizens as the fairies, dressed in white night clothing, is cute at first but eventually slows things down, and not even the always outstanding Nielsen can turn it around. And there’s usually sexual tension surrounding the changeling, but deBessonet has made him a young boy searching for a home. Marcelle Davies-Lashley belts out some hot New Orleans–tinged R&B as a fairy singer in a glitzy gown, but her appearances are disruptive to the narrative, taking the audience out of Shakespeare’s fantasy world. (The band consists of music director Jon Spurney on keyboards and guitar, Jeremy Chatzky on bass, Christian Cassan on drums and percussion, Andrew Gutauskas on reeds, Freddy Hall on guitar, and Matt Owens on trumpet and flugabone.) Despite the production’s disjointedness, there is nary a better way to spend a night outdoors in New York City, especially for free. As Puck relates, “If we shadows have offended, / Think but this, and all is mended, / That you have but slumbered here / While these visions did appear.”

SHAKESPEARE IN THE PARK: A MIDSUMMER NIGHT’S DREAM

midsummer nights dream delacorte

Central Park
Delacorte Theater
July 11 – August 13, free, 8:00
shakespeareinthepark.org

The Public Theater follows up its controversial staging of Julius Caesar, in which the title character was modeled directly on President Donald Trump, with its fourth presentation of the Bard’s enchanting fairy tale, A Midsummer Night’s Dream. James Lapine directed the 1982 edition, starring Christine Baranski, Ricky Jay, Deborah Rush, Kevin Conroy, and William Hurt; Cacá Rosset played Bottom and helmed the carnivalesque 1991 version from Brazil’s Teatro do Ornitorrinco; and in 2006, Daniel Sullivan directed Martha Plimpton, Jesse Tyler Ferguson, Mireille Enos, Keith David, Tim Blake Nelson, George Morfogen, and Jay O. Sanders. Now Obie winner Lear deBessonet (Venus, Good Person of Szechwan), who directed the Public Works adaptations of The Winter’s Tale in 2014 and The Odyssey in 2015 at the Delacorte, has assembled a stellar cast for A Midsummer Night’s Dream, running from July 11 to August 13. The roster includes Tony winner Annaleigh Ashford as Helena, six-time Tony nominee Danny Burstein as Nick Bottom, Tony winner Phylicia Rashad as Titania, Kyle Beltran as Lysander, De’Adre Aziza as Hippolyta, Bhavesh Patel as Theseus, Shalita Grant as Hermia, Robert Joy as Peter Quince, Patrena Murray as Snout, Richard Poe as Oberon, and two-time Obie winner and Tony nominee Kristine Nielsen as Puck. The scenic design is by Tony winner David Rockwell, with costumes by Tony winner Clint Ramos, choreography by Chase Brock, and original music by Justin Levine. There are several ways to get the much-coveted free tickets: going to Central Park and waiting on line at the Delacorte for distribution at 12 noon; signing up for the lottery at the Public Theater at 11:00 am; picking up a voucher at a specific daily location in the Bronx, Brooklyn, Queens, and Staten Island for a noon distribution; or trying the email and digital TodayTix lotteries. Good luck — as Lysander tells Hermia, “The course of true love never did run smooth.”

BROADWAYCON 2017

Josh Groban and other members of the creative team of NATASHA, PIERRE AND THE GREAT COMET OF 1812 will be at second annual BroadwayCon on July 27 (photo by Chad Batka)

Jacob K. Javits Convention Center
655 West 34th St. (11th Ave. between 34th & 39th Sts.)
January 27-29, $250 General Pass, $65-$95 Day Pass
www.broadwaycon.com
www.javitscenter.com

BroadwayCon takes a major step up in its second year, moving from the New York Hilton to the Javits Center this weekend. The founders and presenters, which include Melissa Anelli, Anthony Rapp, Playbill, and Mischief Management, are discussing performance and payment details with Actors’ Equity, but whatever they decide, there is still an impressive roster of events. Gold passes ($600) are sold out, but you can still get a General Pass ($250) or single-day tickets ($65-$95) to see cast and crew members and/or participate in fan meetups for such shows as Annie, Kinky Boots, Wicked, In Transit, Hamilton, Les Misérables, Ragtime, Natasha, Pierre and the Great Comet of 1812, and many others in addition to autograph and/or photobooth sessions with Kelli O’Hara, Rebecca Luker and Danny Burstein, Michael Cerveris and Judy Kuhn, Carolee Carmello, Jane Houdyshell and Reed Birney, Chita Rivera, Jeremy Jordan, Donna Murphy, Alison Fraser, Mary Testa, and Chip Zien, Rapp, and many more. Below are only some of the highlights.

Friday, January 27
The Art of Perseverance with Melissa Errico, Programming Room A, 11:00 am

Cabaret and the Next Generation of Artists, with Shoshana Feinstein, Joe Iconis, Jay Armstrong Johnson, Julia Mattison, and Benjamin Rauhala, moderated by Jennifer Ashley Tepper, Programming Room E, 2:00

Women in the World of Sondheim, with Katie Welsh, Emily Whitaker, and Stacy Wolf, Programming Room A, 2:30

Chandeliers and Caviar: Natasha, Pierre and the Great Comet of 1812, with Brittain Ashford, Gelsey Bell, Nicholas Belton, Denée Benton, Nick Choksi, Amber Gray, Josh Groban, Dave Malloy, Grace McLean, Michael Paulson, Paul Pinto, and Lucas Steele, MainStage, 5:00

Annie Forty-Year Reunion, with Jennifer Ashley Tepper, Steve Boockvor, Shelley Bruce, Martin Charnin, Mary Jane Houdina, Andrea McArdle, Thomas Meehan, and Charles Strouse, MainStage, 8:00 PM

Saturday, January 28
Everybody Say Yeah: Three Years at Kinky Boots, with Killian Donnelly, Todrick Hall, Julie James, Taylor Louderman, and Jerry Mitchell, MainStage, 11:00 am

Madam Secretary Panel, with Sebastian Arcelus, Erich Bergen, Keith Carradine, Tim Daly, Željko Ivanek, Patina Miller, and Bebe Neuwirth, moderated by Anthony Rapp, MainStage, 1:00

William Ivey Long: A Lifetime in Theatre, Programming Room C, 3:00

Shaina Taub Performance, Marketplace Stage, 3:30

Joel Grey Q&A, MainStage, 4:00

Sunday, January 29
Born to Boogie: Broadway’s Choreographers, with Lorin Latarro and Spencer Liff, Programming Room C, 10:00 am

Raising Broadway Babies: Working Moms on Broadway, with Carmen Ruby Floyd, Blair Goldberg, and Erin Quill, moderated by Vasthy Mompoint, Programming Room C, 11:00 am

This Is A Bronx Tale Panel, with Richard H. Blake, Nick Cordero, Ariana DeBose, Chazz Palminteri, Glenn Slater, and Bobby Conte Thornton, MainStage, 12 noon

Judy Kuhn Q&A, with Judy Kuhn and moderator Ilana Levine, Marketplace Stage, 5:00

Geek Out — Freak Out: Our Favorite Songs, with Andrew Keenan-Bolger and Leigh Silverman, moderated by Mark Blankenship, Programming Room D, 5:00

FIDDLER ON THE ROOF

FIDDLER ON THE ROOF is back on Broadway in a toned-down yet still rousing version from Bartlett Sher (photo by Joan Marcus)

The Broadway Theatre
1681 Broadway at 53rd St.
Tuesday – Sunday through September 4, $35 – $157
fiddlermusical.com

One of Broadway’s genuine treasures is back where it belongs, on the Great White Way, in a wonderful production that breathes new life into the old chestnut. Based on stories by Sholem Aleichem, the musical version of Fiddler on the Roof debuted on Broadway in September 1964, where it ran for 3,242 performances through July 1972. The show was directed and choreographed by Jerome Robbins, with a cast that included Bea Arthur, Bert Convy, Austin Pendleton, Maria Karnilova, and, of course, Zero Mostel as Tevye the milkman, an honest, hardworking husband and father who is balancing his religious beliefs and Jewish tradition with raising five daughters who are developing modern minds of their own in the small village of Anatevka in early-twentieth-century imperialist Russia. Over the years, Tevye has been portrayed as a larger-than-life figure with a special relationship with the Almighty; in addition to Mostel, the dairyman has been portrayed by Herschel Bernardi, Topol (onstage and in the Oscar-winning film), Alfred Molina, Paul Michael Glaser (who was Perchik in the movie), and even Harvey Fierstein. Taking the reins this time around is the terrific Danny Burstein, the fifty-one-year-old Mount Kisco native and five-time Tony nominee (Cabaret, Follies), who walks onto the stage from the audience, immediately announcing that Tevye is one of us, just another human being facing life’s adversities. Burstein’s scaled-down Tevye allows six-time Tony nominated director Bartlett Sher (The King and I, South Pacific with Burstein) to let Joseph Stein’s sterling book shine. The people of Anatevka are struggling to make ends meet, always fearful that the next pogrom could be waiting right around the corner. Tevye’s horse is lame, so he is pulling his cart by himself, adding to his stress and strain. Yente the matchmaker comes by to tell Tevye’s wife, Golde (Jessica Hecht), that she has chosen the much older butcher and wealthy widower Lazar Wolf (Adam Dannheisser) to marry their oldest daughter, Tzeitel (usually played by Alexandra Silber, but we saw a fine Tess Primack in her stead), who is madly in love with the poor tailor, Motel (Adam Kantor). Soon two more of Tevye and Golde’s daughters are trying to bypass the traditional arranged marriage: Hodel (Samantha Massell) falls for Bolshevik revolutionary and teacher Perchik (Ben Rappaport), while Chava (Melanie Moore) is courted by non-Jewish Russian officer Fyedka (Nick Rehberger). Through it all, Tevye looks to the heavens, continuing his ongoing conversation with God, wondering when things are going to get better.

Golde (Jessica Hecht) and Tevye (Danny Burstein) discuss a dark “dream” as Grandma Tzeitel (Lori Wilner) looks on in FIDDLER (photo by Joan Marcus)

Sher’s heartwarming version of Fiddler takes place on Michael Yeargan’s relatively spare sets, which drop down from above and roll in from the sides, facades of houses and storefronts and a local bar in brown wood palettes. Israeli-born, UK-based choreographer Hofesh Shechter adds modern-dance flourishes to Robbins’s original choreography that keep things fresh and moving. Despite Ted Sperling’s overly standard and uninventive musical orchestrations, the songs, with music by Jerry Bock and lyrics by Sheldon Harnick, hold up marvelously, boasting such rousing set pieces as “Tradition,” “Matchmaker, Matchmaker,” “To Life,” and “Tevye’s Dream,” the last an always delightful moment that lets the creative team sparkle and show off as Grandma Tzeitel (Lori Wilner) and Fruma-Sarah (Jessica Vosk) share their thoughts on Tzeitel’s upcoming nuptials to Lazar Wolf. “Sunrise, Sunset,” which can easily become treacly, is tender and beautiful here, and Sher and Burstein tone down “If I Were a Rich Man” into a more solemn musing than a bold demand. And we dare you not to shed a tear when Burstein and Hecht ask the deeply touching question: “Do You Love Me?” They could address the same question to the audience, which would answer back with an enthusiastic yes. Every decade has its Fiddler, which has previously been revived on Broadway in 1981, 1990, and 2004, and now the 2010s has one it can call its own. Sher, Burstein, and the rest of the cast and crew have done a fantastic job of delivering a thrilling Fiddler on the Roof that upholds tradition — while celebrating life and love in the face of dark times that are as relevant today as they were way back when.

CABARET

Michelle Williams and Alan Cumming star in return of CABARET to Studio 54 (photo by Joan Marcus)

Studio 54
254 West 54th St. between Seventh & Eighth Aves.
Tuesday – Sunday through January 4, $47-$352
212-719-1300
www.cabaretmusical.com

The Roundabout has brought back its exciting 1998 Tony-winning revival of Cabaret, once again turning Studio 54 into the lasciviously decadent Kit Kat Klub in pre-WWII Berlin, where a debauched Emcee (Alan Cumming) hosts an evening of naughty nightclub fun during the rise of the Third Reich. The audience sits at small, round tables in the orchestra section (and regular seats in the mezzanine) as the Emcee introduces music and dance and hovers in the background as the narrative plays out onstage. Michelle Williams makes a strong Broadway debut as Sally Bowles, a British ex-pat who performs at the Kit Kat Klub and takes an instant liking to American writer Cliff Bradshaw (Bill Heck). In order to make money, Cliff teaches English to Ernst (Aaron Krohn) and others and also does favors for him. Meanwhile, Sally moves in with Cliff, who lives in a boardinghouse run by the spinsterish Fraulein Schneider (Linda Emond), who is being subtly courted by successful fruitier Herr Schultz (Danny Burstein). When Ernst proudly reveals he is a member of the Nazi party, the relationships among the characters go through a swift and sudden change, setting in motion one of the greatest second acts in Broadway history.

Herr Schultz (Danny Burstein) and Fraulein Schneider (Linda Emond) consider a dangerous love in CABARET (photo by Joan Marcus)

Adapted from John van Druten’s 1951 play, I Am a Camera, which itself was based on Christopher Isherwood’s Berlin Stories, this version of Cabaret, directed by Sam Mendes (American Beauty, the Bridge Project) and codirected and choreographed by Rob Marshall (Chicago, Into the Woods), uses elements of both Harold Prince’s original 1966 show as well as Bob Fosse’s Oscar-nominated 1972 film to craft a new way to experience this ultimately heart-wrenching sociopolitical tale, which features a marvelous score by John Kander and Fred Ebb and a powerful book by Joe Masteroff. Robert Brill’s two-level set features the scantily clad Kit Kat Girls, Kit Kat Boys (the daring costumes are by William Ivey Long), and musical director (Patrick Vaccariello) upstairs, often seen behind a large, tilted frame that hangs from the ceiling, surrounded by bulbs that slowly go out over the course of the evening. Meanwhile, the story plays out on the main floor, as relationships develop and fall apart. Heck (The Orphans’ Home Cycle) is relatively bland as Cliff, but the rest of the cast is excellent: Williams (Brokeback Mountain, Blue Valentine) more than holds her own in a role made famous by Liza Minnelli and also played by such stars as Miranda Richardson, Jennifer Jason Leigh, Deborah Gibson, and Brooke Shields, among others, nailing such familiar songs as “Mein Herr,” “Maybe This Time,” and the title song. Burstein (Talley’s Folly, Golden Boy) and Emond (Death of a Salesman, 1776) give added depth to their touching characters, who are caught in the middle of what is happening in Germany, while Cumming (Macbeth, The Good Wife) has a blast reprising his Tony-winning role, offering a very different take from Oscar and Tony winner Joel Grey as he makes his playfully raunchy way through such classics as “Willkommen,” “Money,” and “If You Could See Her.” It all leads to one of the most striking and harrowing final images you’ll ever see onstage.

THE SNOW GEESE

The Gaesling clan gathers at their upstate lodge for the start of hunting season (photo by Joan Marcus)

Manhattan Theatre Club at the Samuel J. Friedman Theatre
261 West 47th St. between Broadway & Eighth Aves.
Tuesday – Sunday through December 15, $67-$120
www.manhattantheatreclub.com
www.thesnowgeesebroadway.com

Late last year, Sharr White’s gripping The Other Place, a searing look inside the mind of a marketing executive lost in her own alternate reality, opened on Broadway after a 2011 run at MCC Theatre. White’s follow-up, The Snow Geese, another coproduction of Manhattan Theatre Club and MCC at the Samuel J. Friedman, is a dreary mashup of Alan Bridges’s 1985 film The Shooting Party and Chekhov’s The Cherry Orchard, a just-plain-dull WWI-era tale focusing on a woman having difficulty facing reality after the unexpected loss of her beloved husband. Despite the sudden death of Teddy, Elizabeth Gaesling (Mary-Louise Parker) thinks she is ready to go on with her life as the family comes together at their lodge in upstate New York for their traditional toast at the opening of snow goose season. Elizabeth is joined by her two sons: the patriotic, prodigal Duncan (Evan Jonigkeit), who goes to Princeton and has joined the war effort, and Arnold (Brian Cross), who has stayed home to take care of their mother and the family finances, which are not in very good shape.

Two sisters (Mary-Louise Parker and Victoria Clark) try to get by in Sharr White’s new Broadway play (photo by Joan Marcus)

Also with them is Elizabeth’s sister, Clarissa (Victoria Clark), a very Christian woman who thinks that Elizabeth should still be in mourning, and her husband, Max (Danny Burstein), a German-born doctor with a thick accent who can no longer practice medicine because of anti-Axis sentiment, even though he has been an American for decades. Most of the meandering story plays out on John Lee Beatty’s stodgy dining-room set, with occasional boring scenes out in bare woods where Duncan and Arnold verbally spar while not shooting at snow geese, who fly by in a metaphorical gaggle of freedom. The most interesting figure in the play is the Gaeslings’ maid, Viktorya Gryaznoy (Jessica Love), a bright young woman from a wealthy family who escaped the Ukraine and has taken a job well below her; how she is treated by the others establishes not only her character but theirs as well. Director Daniel Sullivan (Proof, Orphans) is not able to do much with the material or the mediocre performances, surprising from such a talented cast. The Snow Geese takes aim at examining the human condition in a changing America during WWI but unfortunately ends up firing mostly blanks.