Gary Waldman's MEET ME AT THE PITKIN (1997) | Miami New Times Review

Theater producer Gary Waldman presented MEET ME AT THE PITKIN, a musical by Gary Waldman at the Hollywood Playhouse, Hollywood, FL (1997) ... the following is a review published in The Miami New Times...

Backstage Passes

MEET ME AT THE PITKIN

By Savannah Whaley Thursday, Jul 31 1997

Although the Hollywood Playhouse's lobby boasts an exhibit of yearbooks, photos, and other Brooklyn memorabilia from the time of Meet Me at the Pitkin's Fifties setting, the creators of this musical believe that nostalgia ain't what it used to be. They deliver an infectiously silly send-up of backstage stories and popular music, presented through a revue of parodic lyrics matched to old Yiddish folksongs and Your Hit Parade standards. Loosely structured on the rise to stardom of the fictitious singing group the Pitkin Four, the musical begins at a condo in present-day Boca. There, Elly (Margot Moreland) and her husband Marty (Louis Silvers), along with their old partners in the act, Molly (Heather Jane Rolff) and her mate Phil (Oscar Cheda), learn that Brooklyn's Pitkin movie theater is slated for demolition. The news carries their memories back to the place where they launched their careers, sending Meet Me at the Pitkin in a flashback to post-World War II Brooklyn.

Working at the theater as ushers and projectionists, the four star-struck kids watch the Pitkin's live stage shows between reels, then spend late nights putting together their own act. Of course, there are obstacles: Elly wishes Marty would go back to work in her father's store, and the Yiddish of Irish Catholic Molly needs work. But the act takes off when the gang comes up with the idea of singing witty send-ups of the Yiddish songs they heard growing up, as well as of the hits offered up by the Pitkin's headliners. Making fun of Jewish conventions and New York icons, the group wins fame with brief, bouncy numbers such as "Yeshiva" (to the tune of "Fever"), "Blame It on the Cosa Nostra" ("Blame it on the Bossa Nova"), and "The Joint Is Kosher!" ("The Joint Is Jumpin'"). Finally, the musical tastes of the Sixties send the quartet into semi-retirement in Boca, until they gather for one last private reprise in the shuttered Pitkin.

"Meet Me at the Pitkin" at the Hollywood Playhouse.
Pictured (l-r) Heather Jane Rolff, Oscar Cheda,
Louis Silvers & Margot Moreland

The Yiddish Mickey Rooney/Judy Garland story line soars in the hands of a fresh-faced cast powered by pure chutzpah. Straight from her standout performance as the Spanish-speaking new mother in Summer Shorts '97, Moreland once again proves that talent is the universal language by reaching out across the footlights and belting the Yiddish lyrics with confidence. As her husband, Silvers gives a relaxed and affable performance that fits him as comfortably as Perry Como's sweater. Rolff and Cheda also charm as they move easily between the episodic revue-style musical numbers and the structured backstage plot. And the cast receives plenty of up-tempo support from the four-piece ensemble led by pianist Phil Hinton that, in a rare treat, adds woodwinds (Julianne Purefoy) to the upright bass (Dave Tomasello) and drums (Ken Hebden).

Director Andy Rogow instills a welcome light touch to this feathery revue, keeping the production moving along to the next musical joke without building in unnecessary pauses for the underdeveloped dramatic moments. Similarly, Jamie Cooper's lively choreography is entertaining, and its simplicity mimics the limited moves the Pitkin Four would probably have created.

Gary Waldman, who wrote the book and original lyrics, composed the original music (with Todd Rice and Jon Delfin), designed the production (with Rogow), and co-produced the musical, has come up with a pleasant entertainment but perhaps has limited his creation's potential by spreading himself too thin. After a whirlwind first act, his story drags during an overlong Catskill tribute and a Pitkin Four world tour. With minimal sets and simple costumes, he treats the work's physical demands like the songs he parodies, expecting the audience to make do with only a sketchy frame of reference. On the other hand, two of his original songs, the hummable "Meet Me at the Pitkin" and the touching "I Remember Everything," suggest that this is where his real talent lies.

Like all spoofs, Meet Me at the Pitkin works best if you know the Yiddish songs or the New York landmarks that are being lampooned. The opening-night audience sang along to the folksongs, clapped in time to remembered hits, and even loudly opined "That's true" to bits of dialogue. Most of the material was new to me, however, which only seemed to make the comedy that much fresher and more novel.

Meet Me at the Pitkin. Original lyrics and book by Gary Waldman; original music by Todd Rice, Jon Deflin, and Gary Waldman; directed by Andy Rogow; with Oscar Cheda, Heather Jane Rolff, Margot Moreland, and Louis Silvers. Through August 15. For more information call 954-922-0404 or see "Calendar Listings."

I WRITE THE SONGS (2007) Biloxi Sun-Herald Feature Story

Gary Waldman & Jamison Troutman, theater producers, presented I Write the Songs - A Celebration of the Music of Barry Manilow at the IP Casino Resort & Spa in Biloxi, MS (2007) … the following is a feature story published in the Biloxi Sun-Herald:

IP CASINO RESORT & SPA PRESENTS

INGENIUS MUSICAL TRIBUTE

TO BARRY MANILOW

Biloxi, MS—If you are looking for a romantic summer songfest and happen to be a fan of one of the most romantic composers in show business, then come to Club IP beginning June 8 – July 22. I Write the Songs, a unique musical celebration, will make you laugh, cry, sing and dance and it’s just the show for you and your family when you visit your one stop resort destination, IP CASINO RESORT & SPA in Biloxi, Mississippi. The 5-person stage production creatively showcases one of the most prolific and award-winning composers of this generation, Barry Manilow. 

I Write the Songs is a much deserved honor rarely bestowed on a contemporary singer-songwriter,” according to its originator, nationally acclaimed musical theater artist, Gary Waldman.

Manilow has written hundreds of songs and performed around the world, thrilling millions of fans, picking up a Grammy, an Emmy, Tony Awards, and an Oscar nomination along the way.

To make the Manilow musical that much more exciting, Waldman has cast disco legend Jeanie Tracy as the star of I Write the Songs. Coined by megastar Whitney Houston as “one of the 10 best singers in the world,” Tracy is certain to add additional glitter and glam to the already spectacular 90-minute audio-visual extravaganza.

Tracy has partnered with Barbra Streisand, Aretha Franklin, Patti Labelle and Celine Dion on various musical projects, including, My Heart Will Go On, the title track from Academy Award winning film Titanic.

Reviewers of the original production were stunned at how Waldman and longtime musical collaborator, Phil Hinton, re-arranged and re-structured the best of Manilow’s work into an entirely new form of entertainment.

Vigorous research led the pair to an amazing repertoire consisting of classic pop, jazz, swing and virtually every other style of 20th Century music that will appeal to the entire family. IP is hosting the smash-hit summer musical on stage in Club IP as an incentive to promote much-needed, family-oriented live entertainment on the Mississippi Gulf Coast. The theater boasts a 500 seat capacity, with reserved private booths available for parties of four or more. Tickets are on sale NOW and may be purchased at IP’s Tour & Travel Desk in the IP lobby or by calling toll free, 1-888-WIN AT IP.

Additional information available at www.ipbiloxi.com.

CREDITS

Producers: Gary Waldman & Jamison Troutman in association with IP CASINO RESORT & SPA

Created & Directed by Gary Waldman

Music Director: Phil Hinton

Set Design: Matthew Decker

Sound & Lighting Design: John Wade

Production Stage Manager: Patricia Causey

Performers:

Jeanie Tracy – Los Angeles, CA

Kelly Briscoe – New York, NY

Ryan Flanigan – New York, NY,

Lady Patrice Green – Pascagoula, MS,

Garrit Guadan – New York, NY

Rachel Klein – Hollywood, FL

Like everything else about IP, www.ipbiloxi.com is definitely MORE THAN YOU EXPECT!

1 888 WIN AT IP (1.888.946.2847)

FIVE GUYS NAMED MOE (2006) South Florida Tribune Review

Gary Waldman & Jamison Troutman, theater producers, presented the Five Guys Named Moe at Carmen's Supper Club, Boca Raton, FL (2006) … the following is a review published in The South Florida Tribune.

“Five Guys Named Moe” to delight with humor

By Al Price

SPECIAL TO THE TRIBUNE

There’s a new dinner theater in town – at the “Bridge Hotel” rooftop restaurant overlooking the Intracoastal. What a great atmosphere to see an enjoyable musical and eat sumptuous food by an award-winning chef.

Five Guys Named Moe was one of the most popular shows in cabaret history. Its off-Broadway show totaled 445 performances. It takes you back a bit, especially if you remember the big band sound. Six dynamic guys take off on Louis Jordan’s music from the ‘40s with high-powered song and dance. His musical style was called “The Big Bounce.” It took the swing-era jazz style, mixed it with rhythm and blues, and pushed it toward rock ‘n’ roll.

The five guys are Eat Moe, No Moe, Little Moe, Four-Eyed Moe and Big Moe, who sing and dance around the stage in an exuberance rarely seen on any stage in this area. It opens with a lovelorn Nomax (Gary Waldman), whose lady love is moving out of his life. The Moes suddenly appear to help Nomax out of his depression.

Carl Barber-Steele (“The Life”), Lorenzo Gutierrez, David Hughes, Christopher George Patterson and Dante Sterling dance and sing up a storm, performing some 24 of Jordan’s work’s including favorites like “Let the Good Times Roll,” “Is You Is or Is You Ain’t My Baby” and “Caledonia.”

They are an extraordinary group of performers, and as the show moves forward, each one is in perpetual motion, and each has the opportunity to sing a song and show his stuff. There is a distinct personality to each Moe as he sings and dances, which gets the audience toe-tapping – it’s infectious!

Choreographer Christopher George Patterson ahs his cast not only energetically dancing but has turned the show into an interactive event with audience members who participate with the performers in humor, dance and sing-alongs.

The Moes are costumed in classical striped Zoot suits that add to the hilarity of the evening; and the cast also seems to enjoy every moment on stage. Phil Hinton, who is the musical director, is a former Carbonnel and Curtain Up nominee for last season’s “The Life.”

Each one of the Moes has his own Louis Jordan specialty number with the others dancing around him. At one time Sterling leads the group with “I Like Them Fat Like That.” In “Safe, Sane and Single” each takes his turn in stanzas directed at the audience. And when Carl Barber-Steele has the audience prompt him in “Caledonia, Caledonia, What Makes Your Big Head So Hard,” the audience is suddenly part of the show.

Other fun songs are “Ain’t nobody Here But Us Chickens,” and “Choo Choo CH’Boogie.”

“Five Guys Named Moe,” directed by Gary Waldman, is a great way to spend an evening and enjoy a good dinner as well.

“Five Guys Named Moe” is playing at Carmen’s Rooftop Restaurant at the Bridge Hotel, 999 E. Camino Real in Boca Raton. Open ended. For tickets, call 561-392-2744.

SOPHIE, TOTIE & BELLE (New York, 2000) Playbill Feature Story

Gary Waldman, Jamison Troutman, Jay H. Harris and Kathi & Alan Glist opened an 8-week run of SOPHIE, TOTIE & BELLE off-Broadway at Theater4 on March 15, 2000. Here is a feature story published in Playbill Magazine.

Gwendolyn Jones, Kathy Robinson, Joanne Cunningham in SOPHIE, TOTIE & BELLE 
at Theater4, New York City                                                                Photo: STEVE SINGER

Yiddishkeit & Raunch to Mix in OB’s Sophie, Totie & Belle

15 Mar 2000

You wouldn’t ordinarily associate Jewish humor with earthy, raunchy comedy, but three comediennes of decades past weren’t above mixing the two. Sophie Tucker, Totie Fieldsand Belle Barth all spiced old-fashioned ethnic comedy with racier material — at a time when even most male comics were still PG-rated. Fields faced even further obstacles later in her career, when diabetes forced the amputation of her leg.

You wouldn’t ordinarily associate Jewish humor with earthy, raunchy comedy, but three comediennes of decades past weren’t above mixing the two. Sophie Tucker, Totie Fields and Belle Barth all spiced old-fashioned ethnic comedy with racier material — at a time when even most male comics were still PG-rated. Fields faced even further obstacles later in her career, when diabetes forced the amputation of her leg.

Now the styles of all three laugh-getting ladies are on view in a new Off-Broadway tribute show, Sophie, Totie & Belle, which started previews March 8 for an official opening March 15 for an open run at Theatre Four. Jay H. Harris, Gary Waldman, Jamison Troutman,  and Kathi & Alan Glist are producing the piece, which stars regional actresses Gwendolyn Jones as Sophie, Kathy Robinson as Totie and Jo Ann Cunningham as Belle. Daniel Neiden plays “All the Men in Their Lives.”

Joanne Koch and Sarah Blacher Cohen’s penned the book for STB, which has the ticklesome trio meeting in the afterlife and reminiscing about their careers and personal difficulties. As such, we get to hear Tucker belt out her 40s-era hits, “Some of These Days” and “Red Hot Mama”; Barth tell her shamelessly naughty jokes; and Fields talks about her experiences with self-mocking humor.

Robert Craig Dawson choreographs, and Jon Delfin serves as musical director for the piece, which is staged by producer Waldman. Other plays by Koch include Safe Harbor, which was staged at Chicago’s Organic Theatre, and Nesting Dolls. Cohen collaborated with Isaac Bashevis Singer on the musical comedy, Schlemiel the First.

According to spokesperson Joan Spector, Sophie, Totie & Belle was a hit in Florida, playing three months in Deerfield Beach, followed by three more months at Fort Lauderdale’s Wilton Playhouse.

Spector said she was drawn to the material because, “These were three very strong women. They were all bawdy and tough on stage, but they all had difficult personal lives. Sophie was a torch singer of the first order. Belle used language — you were shocked. Back then, it was mindblowing that anybody talked that way. Both of them had ratty husbands. As tough as they all were on stage, they were marshmallows with their men. Totie — who was clean on TV but not in her nightclub act — had a very supportive husband, but she was heavy-set and hated herself. Her humor was very self-deprecating, and deep down, that probably didn’t make her too happy.”

Tickets are $40-$45. Theatre Four is located at 424 West 55th Street. For information, call (212) 239-6200.

– By David Lefkowitz