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Black Tie International:
On The Town With Aubrey Reuben August 5, 2017



Aubrey Reuben

On the Town With Aubrey Reuben
Where All the Stars Shine Brightly!

February 4 2017


Mostly Mozart 
presented a program of three works at David Geffen Hall. It began with a brief, six minute Masonic Funeral Music in C minor, by Mozart, and the it was followed by the highlight of the evening, Piano Concerto No. 4 in G major, by BeethovenJeremy Denk was the soloist, and performed brilliantly. His mastery in the first and third movements was a delight to the ears. He was given a tumultuous, well deserved ovation, and granted the audience a solo encore by Mozart. The program concluded with a pleasant rendition of Symphony No. 5 in B-flat major, by Schubert. The Mostly Mozart Festival Orchestra played the three selections excellently, under the baton of Edward Gardner. The audience left the concert well pleased.


Singing Beach, by Tina Howe, at the Here Arts Center, is about a family of four on a beach, who are warned to leave because a hurricane is approaching. They also have a grandfather, who needs to be placed in an assisted-living facility. The scenes alternate with their 10-year old daughter, who wants to take the grandfather on an imaginary ocean trip. The fantasy scenes, unfortunately, make no sense. The playwright has written good plays in the past, but this is not one of them.


A Parallelogram, by Bruce Norris, at the Second Stage Theater, begins with a young woman (Celia Keenan-Bolger) sitting on a bed in her apartment. She begins to whine, and, unfortunately, never stops. Every cliche about life is uttered. It is excruciating. Scenes are repeated over and over again for no purpose. Plays like this one can drive a normal  person to drink.


Lili Marlene, book, music and lyrics by Michael Antin, at St. Luke's Theatre, is about a Jewish cabaret singer in Berlin as the Nazis begin their climb to power. The head of the passport office helps her and his family to escape to Switzerland.


A large cast on a small stage try to pump life into this musical, directed and choreographed by Mark Blowers, to no avail. The music is dull, the lyrics trite and the choreography minimal. It is hard to feel any sympathy for any of the characters on stage.

Curvy Widow
, book by Bobby Goldman, music and lyrics by Drew Brody, at the Westside Theatre, is a semi-autobiographical tale about a middle aged lady (Nancy Opel), whose husband dies, and finds herself alone. Visiting a psychiatrist, she is encouraged to start a a new life, and explore the internet to find a man. The series of dates are a disaster, but she continues searching. The seven member cast is excellent, under the direction of Peter Flynn, with an outstanding Opel on stage for nearly the entire 85-minute musical. The music is pleasant, the problems are real, and the choreography is fine. The lesson learned is that one does not surf the internet for a date. It will introduce a person to liars, perverts, mentally disturbed people, and others that you would not particularly like to meet. It might be better to have friends find an available man for widows. It is an enjoyable show. We celebrated the opening night at the recently opened restaurant Burger and Lobster, 132 West 43rd St, where delicious burgers and lobster rolls were served with champagne, red and white wine. At the party we met the Nancy Opel's lovely daughter Jillian, (photo below), who, to our surprise, speaks Chinese having studied in Taiwan.



I attended a Meet and Greet for Charm, by Philip Dawkins, (photo below), the next MCC Theater's production, which opens on September 18. It is inspired by the true story of Miss Gloria Allen, a black, transgender woman, who taught at a LGBTQ community center in Chicago. I eagerly await the opening night. 




Gerard Mc Keon and Joyce Brooks.  Photo by:  Rose Billings/

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