by Karen Tortora-Lee on August 31, 2011
Earlier this week FringeNYC announced the 2011 Overall Excellence Award Winners and we at THM couldn’t have been happier to celebrate with the winners and congratulate them on their success. One standout for me was The Bardy Bunch: The War of the Families Partridge and Brady which was definitely one of my favorites this year. I was lucky enough to get a moment with Stephen Garvey – writer of this fantastic show which takes one part Brady, one part Partidge, one part Shakespeare, and all parts groovy and mixes it together in a crazy plot worthy of Sherwood Schwartz on his best day. Read on to find out if Garvey is Team Brady or Team Partridge … see how creativity can spring in the most unlikeliest of places, and learn what the secret to a great mash-up really is …
Stephen Garvey!!! First of all, congratulations on winning the Ensemble Award! You’re in great company. It was clear from the first five minutes that your show was destined to win recognition, but did you see this award coming?
SG: Didn’t see it coming but so happy it came. We really lucked out with this cast. Director Jay Stern and I had to hold our auditions very late in the game, and we were nervous. Not only did we need to fill 18 roles, we needed actors who could sing, dance, be funny and manage to capture the spirit of the iconic characters they were playing. How we went 18 for 18 is nothing short of miraculous!
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by Karen Tortora-Lee on April 22, 2010
Harlem
Langston In Harlem - photo by Melinda Hall
by Langston Hughes
What happens to a dream deferred?
Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
Right now, for just a few weeks more, you can treat yourself to the vibrant poetry of Langston Hughes, the lush music of Walter Marks, and the talented voices of the ensemble cast of Langston in Harlem because this musical is going on at Urban Stages until May 2nd. (Play by Langston Hughes, Walter Marks and Kent Gash, music by Walter Marks, lyrics by Langston Hughes music production by Barry Levitt, choreography by Byron Easley and directed by Kent Gash).
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by Karen Tortora-Lee on May 27, 2009
The other day a friend of mine went to see Sessions. I asked her how she liked it and she said, “I didn’t expect it to be so heavy. I guess when I saw “musical” I expected “light”. Huh.
Comedy Tonight!
As a life long devotee to Sondheim, who’s every musical (even the deceptively named Follies) is filled with some combination of longing, regret, despair, confusion, anger, revenge, lethargy, emptiness, callousness, greed, murder, mental illness, and scorn, the last thing I tend to expect from a musical is “light”. Even the first song from A Funny Thing Happened on the Way to the Forum (“Comedy Tonight”) takes the time to tell you what you will NOT see: NO ROYAL CURSE, // NO TROJAN HORSE, // AND A HAPPY ENDING, OF COURSE! // GOODNESS AND BADNESS, // MAN IN HIS MADNESS, // THIS TIME IT ALL TURNS OUT ALL RIGHT! // TRAGEDY TOMORROW! // COMEDY TONIGHT! as if to caution “If you’ve come here for the typical Sondheim fare you’ll be disappointed by all the jubilation!” Of course Sondheim is brilliant in any mood, so there’ no fear of disappointment, it’s just rarely does a musical start off with the disclaimer WARNING … HAPPY ENDING AHEAD!
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