Off-B'way Review: The Whoopi Monologues

Kecia Lewis (center) and cast of
The Whoopi Monologues.
Credit: Angela Marie Orellana

Back in 1984, the comedienne-actress Whoopi Goldberg seemed to come out of nowhere, bursting onto Broadway with an eponymous, self-written one-woman show presenting a quartet of characters rarely seen on what was then universally known as the Great White Way. She presented a sharp-edged, female, African-American perspective on our society. Her material was skewed in a comic way yet also achingly real and somewhat tragic. Goldberg went on to EGOT (Emmy, Grammy, Oscar, Tony) status and now is best-known as a political commentator/talk-show host on ABC’s The View. She did headline a revival of her breakthrough piece in 2004 called simply Whoopi, adding a fifth segment addressing then-current concerns. 

A revival of Goldberg’s show, with five different performers enacting each monologue, has been given an imaginative and vital staging by Whitney White at Lincoln Center’s Off-Broadway Mitzi Newhouse Theater. Though several of the allusions are dated (a commercial promoting Jamaican tourism, The Love Boat, dearth of racial minority representation on TV), the basic themes of political oppression of women, a lack of abortion access and little compassion for addiction are sadly still relevant. Divvying up the material diffuses the impact slightly and exposes the thinness of much of the material. Goldberg impressed with her versatility and comic timing (HBO filmed the event as a comedy special if you want to see Whoopi’s original performance). Fortunately, the current cast deliver complex, deep characterizations and encourage vocal audience reactions. In addition, White provides a varied staging with the aide of Studio Bent’s backstage-style set, Cha See’s versatile lighting, Hana S. Kim’s off-kilter videos and Fan Zhang’s edgy sound and original music. Qween Jean’s costumes combine street reality with individual style.

Saturday Morning Memories: Part 6

Lately out of sheer boredom, I watched two DVD cartoon collections from Mill Creek Productions I bought years ago at the upstate NY Walmart. They included several animated series I had totally forgotten. Some were hidden gems, others were so bad they were actually trainwreck watchable. Not all were on Saturday mornings. A few were syndicated and broadcast on our Philadelphia UHF channels (17, 29 or 48) while some were shown on local daily kiddie shows like Sally Starr or Adam Android which aired after school and after Dark Shadows (which played at 3:30pm on Channel 6, our ABC affiliate) and before the Mike Douglas Show. You notice there are no more kiddie shows with hosts and puppets showing cartoons? MeTV's Toon in with Me is a satire/parody and probably the only one. They've gone the way of Saturday morning cartoons in general since streaming and animated cable networks are available for adult and kid cartoon fixes 24/7. Here are some the rediscovered shows and a few others that resurfaced in my memory as a result.

Hoppity Hooper (1964-67): This amusing follow-up to Rocky and Bullwinkle from Jay Ward Productions

Waldo Wigglesworth, Hoppity Hooper
and Filmore the Bear

and Total Television was almost as clever as R&B. Like the flying squirrel and moose, it took place in a tiny Midwestern town (Foggy Bog, Wisconsin rather than Frostbite Falls, Minnesota) and follows the bizarre adventures of a diminutive hero (frog Hoppity) and a big, lumbering sidekick (Filmore the Bear whose voice was supplied by Bullwinkle's Bill Scott). The third recurring character was con man Professor Waldo Wigglesworth (Hans Conreid, who also voiced Snidley Whiplash in the Dudley Do-Right cartoons and played Danny Thomas' uncle on Make Room for Daddy) who claimed to be a fox but looked more like a wolf. Waldo's get-rich-quick schemes supplied the engine for the plots of the four-part stories. There were also occasional appearances by Waldo's girlfriend, the delightfully named Susan Swivlehips, who resembled a sluttier version of Underdog's Sweet Polly Purebread. Two segments began and ended each episode with the middle filled with repeats of Rocky and Bullwinkle features such as Fractured Fairy Tales, Aesop's Fables, Peabody's Improbable History and Total TV's Commander McBragg, The Hunter or Tooter the Turtle.

Hoppity's voice was done by actress Chris Allen. Back in the 1980s, I remember she gave voice-over classes in NYC. A friend took her class and Chris did Hoppity's voice for them.

I hadn't watched these stories in over 50 years, but they hold up. One particularly amusing sequence satirized the Twilight Zone with narrator Paul Frees imitating Rod Serling. The spoof was called The Traffic Zone and when Hoppity, Waldo and Filmore enter it, they are transformed into vegetables. To solve their dilemma, they, along with a female avocado, go off to see the Grand Asparagus rather than the Wizard of Oz. Another fun sequence had Hoppity in a blonde wig become a singing sensation as Baby Jane with The Croak. But then Susan knocks him off the charts with her own song, The Boing! (Come and do the Boing/It's not hard to loin.)

Off-B'way Update: Atlantic Season

The family musical Finn at Kennedy Center
before Trump (or his minions) pulled the plug.
Credit: Teresa Wood

Atlantic Theater Company has announced its 2026-27 season schedule which includes world premieres by Lucas Hnath (Dana H., A Doll's House, Part 2), Clare Barron (You Got Older), Jackie Sibblies Drury (Fairview), and Mona Pirnot (I Assume You Know David Greenspan). The company is currently presenting Bubba Weiler's The Saviors. Their fall season opens with Pirnot's I Became We (Oct. 16--Nov. 15) with music by Jack D. Coen and lyrics by Pirnot and Coen. This is a one-person monologue performed by a 30-person choir. 

Atlantic will also present children's theater with Finn, a family musical whose Kennedy Center tour was cancelled when Trump took over the venue, supposedly because it promoted tolerance of those who are different from you. (Dec. 12-Jan. 31 at Atlantic Theater Stage 2).

Deirdre O'Connell in Dana H.
Credit: Carol Rosegg

Next is Clare Barron's Too Bad for Her (Jan. 9-Feb. 14) about a 30-year affair. Anne Kauffman (The Sign in Sidney Brustein's Window) directs. Lucas Hnath's Old Actress follows (March 18--April 25) reuniting him with his Dana H. star Deirdre O'Connell and director Les Waters. O'Connell won a Tony Award for playing a version of Hnath's mother. The play is described as a meta-threatrical experience about learning lines for a show.

The final attraction will be Push from Pulitzer Prize winner Jackie Sibblies Drury (May 27-July 3) with direction from Justin Peck and choreography by Peck and Patricia Degado, about the American premiere of a Russian defecting dancer and the American choreographer creating a piece for him. Set in 1976, it sounds a bit like it could be modeled on Mikhail Baryshnikov and Twyla Tharp.

Book Review: Kids, Wait Till You Hear This!

(Borrowed from a friend) I have a lot more respect and sympathy for Liza Minnelli after reading this memoir, "as told to Michael Feinstein with Josh Getlin and Heidi Evans." (The writing process must have been interesting. I suspect Liza would have long tape-recored conversations with the singer and cabaret artist Feinstein, her best friend. Then Getlin and Evans would fashion the transcribed talks into the book.) Regardless of how the book was written, it does come across as Minnelli speaking to the reader like a close chum (hence the title.) In the latter part of her career, she was reported to be frequently drunk, high, in and out of rehab and detox programs (not just Betty Ford), and involved in a scandalous fourth marriage to a crook who stole almost all of her money. She was repeating the pattern of her famous mother Judy Garland who succumbed to her various addictions at 47. 

Here Liza explains, but doesn't justify, her numerous falls from grace with humor and humility, also the tremendous highs of performing live. Her addiction was inherited from her mom and so was her enormous talent. But she has overcome the former and tried to use the latter as best she can. I've seen her live twice on Broadway in her concerts Minnelli on Minnelli and Liza at the Palace. Both were electric experiences. She also details her many love affairs with everyone from Mikhail Baryshnikov to Ben Vereen. The book concluded with a furious backstage account of her wheelchair appearance to the 2022 Oscars. Apparently according to Liza, it was all Lady Gaga's fault. Maybe. A fast read from a fabulous lady I understand better now.

Off-B'way Review: Dad Don't Read This

Sophie Rossman, Kayta Thomas, Amalia Yoo, 
and Renee-Nicole Powell
in Dad Don't Read This.
Credit: Valerie Terranova

“You can’t be bad at this game. It’s like life but on the computer,” says one of the four young girls comprising the character list in Eliya Smith’s compelling and insightful play Dad Don’t Read This at the Greenwich House Theater after a run at St. Luke’s Theater. That line sums up her young characters’ conflicts between living real life and in the digital realm. As she did with her previous play on adolescent angst Grief Camp, Smith’s intense script is jagged, funny, painful, messy and very real. Dad follows a quartet of teen girlfriends obsessively playing the computer game SIMS where they create artificial worlds rather than cope with the actual one. The play begins with Mal reading a warning to her father, quoting the title, and pleading with him to stay away from her computer. The action takes place in Mal’s bedroom (Forest Entsminger designed the accurately chaotic set) as she negotiates the rocky path of adolescence and yearns to break out of her central Ohio town. Her friends Noelle, Sophie and Lida bicker, share secrets, and sleep over as they go through similar identity crises.

Smith compassionately documents the young ladies’ attempts at forging their own life stories and being kind to each other while surrounded by gossip and peer pressure. Director Chloe Claudel smoothly stages the action so the scenes flow into each other as Mal deals with her warring parents, creating homes and activities for her SIMS creations, fighting feuds and making up with her pals. Choreographer Lena Engelstein devises expressive dance moves to interpret the girls’ frustrations and eagerness to become grown-up. Mitchell Polonsky’s sound design provides an evocative aural environment including the muffled offstage voices of Mal’s mom and dad. Abigail Sage and Finn Bamber’s lighting design reflects the violently shifting moods from a dreamy starscape to harsh reality when one of the girls switches on an unforgiving overhead bulb in the middle of a sleepover. Costume designer Olivia Vaughn Hern dresses them in character-defining casual wear. 

At the performance attended, director Chloe Claudel covered for Amalia Yoo as Mal and was movingly convincing in conveying her struggles to find self-actualization outside of Ohio and the SIMS world. Sophie Rossman is especially touching as Sophie, particularly in a frightening monologue in which she describes a sleazy encounter with a predatory adult in a family restaurant. You can see the conflicting emotions play across her face as Lida expresses revulsion and then guilty excitement and finally shame. Katya Thomas captures the clingy neediness of Lida who shyly hides her empathy for fear of appearing weak. Renee-Nicole Powell displays the athletic Noelle’s seeming confidence, actually a shield for her insecurity. 

Recent plays like John Proctor Is the Villain, Grief Camp, Indian Princesses, and this striking one are dealing with the pain and challenge of being young in the 21st century. Let’s hope more playwrights emerge to address this relevant topic.

June 23—July 18. Try for Baby Productions and The Goat Exchange at Greenwich House Theater, 27 Barrow St., NYC. Running time: 95 mins. with no intermission. daddontreadthis.com.

Off-B'way Update: All-Star View from the Bridge; Irish Rep

Sam Rockwell, Marin Ireland, and 
Alfred Molina will star in an Off'B'way
production of A View from the Bridge
at LaMaMa.

An unusually starry production of Arthur Miller's A View from the Bridge will play the legendary Off-Broadway La MaMa Theater this fall with preview performances beginning Nov. 27 before a Dec. 13 opening. Oscar winner Sam Rockwell (Three Billboards) stars as Eddie Carbone, Obie winner and Tony nominee Marin Ireland (Queens) plays his wife Beatrice and Tony winner Alfred Molina (Art) will be Alfieri the narrator and Greek chorus. Neil Pepe of Atlantic Theater Company will direct. (Side note: Ireland's play Pre-Existing Condition will return for a run at the Greenwich House Theater opening Sept. 14.)

“Some of my earliest theatre memories are of coming to La MaMa as a kid and hanging out backstage while my mom was doing experimental theatre of the day. To now return to the Ellen Stewart Theatre with Arthur Miller's masterpiece with these remarkable collaborators feels like coming full circle," says Rockwell in a statement. "I started my own career downtown, and institutions like La MaMa have always inspired me—as an artist and as an audience member. They're the lifeblood of our culture, championing bold new voices and reminding us why the theatre matters. I've always considered myself incredibly lucky, and this opportunity feels like kismet.”

View concerns the longshoreman Eddie Carbone who comes to tragedy because of his unspoken passion for his teenaged niece. The play began life on Broadway as a one-act play on a double bill with Miller's A Memory of Two Mondays in 1955. He later expanded it to full length and an Off-Broadway revival starring Robert Duvall and Jon Voight ran for 780 performances. Subsequent Broadway productions starred Tony LoBianco (1983), Anthony LaPaglia (1997), Liev Schreiber (2010), and Mark Strong (2015). 

Off-B'way Review: Giulia: The Poison Queen of Palermo

Jennifer Nettles and company in 
Giulia: The Poison Queen of Palermo.
Credit: Andy Henderson

You really have to admire author-actress Jennifer Nettles. In addition to playing the title role, the Grammy-winning vocalist of the duo Sugarland wrote the songs and book for the new musical Giulia: The Poison Queen of Palermo, now at the Perelman Performing Arts Center. She (or the producers) enlisted Tony-winner Mary Zimmerman to direct. Plus the basic idea is intriguing. The plot is based on a true story of a 17th-century Italian female apothecary who aided the women of her community by poisoning several abusive husbands including her own. Nettles creates a proto-feminist heroine, sort of a socially progressive Sweeney Todd. 

Unfortunately, while there are several entertaining elements, Giulia doesn’t quite come together for a satisfying whole. Nettles’ book is earnest in its desire to create a plucky protagonist challenging an oppressive patriarchy represented by a hypocritical cardinal (powerful Quentin Earl Darrington) and a villainous civil governor (mustache-twirling Christopher M. Ramirez). But Nettles doesn’t seem to be able to make up her mind as to what kind of show this is. The tone is mostly deadly serious, but switches to dark humor halfway through the first act, but then switches to girl-power tract as Giulia gleefully massacres all the nasty men who assault their spouses and sets up a women’s talk therapy session in her shop. The show opens like Pippin with a commedia dell’arte troupe performing a scene-setting intro number led by an overplaying Bre Jackson. But then the play-within-a-play concept is dropped.