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THE PERFECT SHOW FOR THEATERS, CORPORATE EVENTS, COLLEGESPRESS CLIPPINGS
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Martini Talk: Chuckleball
by Michael Dale on 12/3/07
On a much lighter note I had a great time at the latest edition of Chuckleball, the musical revue which is essentially Forbidden Broadway for sports nuts. Creator Jason Goldstein, who co-directs and co-authors the continually updated show along with Ian Nemser, is very much a fan of that Off-Broadway satirical institution, as well as its politically-minded cousin Capital Steps. Together they've come up with an extremely funny, fast-paced topical revue of song parodies (showtunes, pop hits and standards) that spoof the back page headlines of your daily paper.
The show that has Yankee fans lamenting, to the tune of Rent's big song, that it's been "five hundred twenty five thousand six hundred pitchers" since their last world championship, has Barry Bonds singing his own version of a Tony Bennett classic, "I Don't Get Booed In San Francisco," and has football fans asking, to the tune of the Baha Men's hit, "Who Let The Dogs Fight?," certainly requires a decent knowledge of the sporting news in order to get the jokes. But even if you have no idea why James Dolan and Isiah Thomas have changed the words of "Hakuna Matata" to "Anucha's Ta-Tas" or why former Senator George Mitchell appears as a Harold Hill figure trying to end the trouble of human growth hormones in baseball ("Oh yes a ban will do it my friends./Yes a steroid ban, do you hear me?") the clever lyrics, spirited staging and performances of the young and very talented cast can keep you laughing all night.
Noah DeBiase Mike Mitchell, Jr., Katy Daniel and Justin Senense must be in constant motion throughout the 90 minute show, as they use an assortment of costumes and wigs to change themselves into Tiger Woods, Maria Sharapova, Don King, David Beckham, Michelle Wie, George Forman, King Booker, Tom Glavine and a league full of others, while frequently being called on to sing backup vocals from offstage. I couldn't say for certain if they were actually doing impersonations of all the celebs' voices, but, for those I'm familiar with, I absolutely recognized the persona the athletes project while playing. All four can power belt with impressive strength, as the pop song score demands, but they also possess an energetic sense of fun and silliness. Music director Meg Zervoulis provides fine accompaniment on piano.
This is Chuckleball's second stint in New York since its inception in 2004 and it has been touring colleges, corporate events and regional engagements since then. Subtitled Jailhouse Jocks, this edition features material covering former NBA ref Tim Doneghy's betting scandal, football player Pacman Jones' troubles with the law and, of course, the latest on O.J. Simpson.
When a new musical comes to town I usually try and imagine what the gang at Forbidden Broadway will do with it. Now, when a sports story makes headlines, I'll be thinking of Chuckleball.
Chuckleball Is A Grand Slam!
by Mark Healey on November 6, 2007
Every scout dreams of the "five-tool" player. Every once in a while, a rare specimen that can run, throw, hit for power, hit for average and plays great defense makes his debut on some local ball field and becomes a star. On Broadway, the critic looks for the same kind of rare package in a new show.
Does it have a memorable score? What about the cast, the writing, the visuals and the space?
It's rare that these two worlds collide. But when they do (Damn Yankees, for instance), it's something special, and the new Off-Broadway musical Chuckleball is no exception.
A show that will delight sports fans and theater regulars alike, Chuckleball is an amazing combination of sharp wit, cabaret intimacy, laugh-out-loud comedy, and first-rate improv. First off, the script. In the style of the long-running parodies Forbidden Broadway and The Capitol Steps, Chuckleball takes its shots at Michael Vick, Jason Giambi, Tom Glavine and Isiah Thomas.
Produced by Jason Goldstein, who wrote the script and directs the play with Ian Nemser, Chuckleball takes on everyone, everything and most impressive of all, stays timely while doing it.
"We are constantly writing material, sometimes even just ours before a show." Goldstein said. "(Yes), it's really demanding on the cast, but it keeps the show fresh."
It's also funny as hell.
From the show's opening number, a hilarious duet by "James Dolan: and "Isiah Thomas", singing to the tune of the Disney classic "Hakuna Mata-ta", its obvious that the crowd is in for a good time.
Isiah: Anu-cha’s ta-tas! What a wonderful thrill
Dolan: Anu-cha’s ta-tas! Cost me 11 mil
Isiah: We had no worries not a care until
Both: The embarr-assment, sex-u-al harassment
Anu-cha’s tat-as!
Both Noah DeBiase ("James) and Mike Mitchell Jr. (Isiah) are talented singers and move well, but their characterizations of the well-known duo give a context to the performance that a sports fan can really appreciate. Meantime, their ease and fluidity on stage immediately resonates with the theater aficionado.
The best part is, there's so much more. Specifically, 90 minutes of non-stop performing by the aforementioned DiBiase and Mitchell, and the equally talented Katey Daniel and Justin Senense
Each has a signature moment, and in some cases, more than one.
Mitchell spends the night transforming from character to character, and there are points when you think there's another actor in the show. From O.J. Simpson to Marion Jones to Barry Bonds, his attention to detail and character development is impressive at any level. In the intimate Snapple Theater, it's extraordinary.
The Bonds number is uncanny, and his accompanying tune (I Never Get Booed in San Francisco) sung to the tune of the Tony Bennett standard is both hilarious, ironic and downright spot on as editorial commentary.
I don’t get booed in San Francisco,
It’s such a thrill, they cheer for me
To be where doctors let you slide,
For dinero on the side
The morning news will clear the air, I look square
I love the fans in San Francisco,
They have a clue, yet they don’t see
When I come home to you, San Francisco,
My golden pee will shine drug free
As a sports writer, who has to cover this stuff every day, it's refreshing to see this kind of frivolity in a sport and industry that takes itself way too seriously sometimes.
DiBiase, who looks and sounds the part of a Broadway veteran, is equally powerful, though it is his voice and smile that charms the audience. It's hard to imagine anyone else capturing Tom Glavine as well, considering there's not much of an existing Glavine "persona". But the future Hall of Famer gets lampooned here, and thanks to some great writing and DiBiase's talent, the result is a bang-up job of translating. Using the tune "Bad Day", "Glavine" laments his performance in the Mets' final game of the season:
Our team collapsed at the end of the year
Win one more game and we’re in the clear
I only got one batter out
Seven earned runs began the rout
But I won’t be carryin' on
Because I had a bad day
I let the fans down
A well placed pitch would turn it around
I really don't know
The stats don’t lie
Since coming here my well has run dry
I had a bad day
I feel like a flop
I can’t seem to win with no Tomahawk Chop
I had a bad day
I had a bad day
Simply classic.
Not to be outdone, Daniel's pantheon of characters are all delivered with a real theatrical punch and variety. The standout pint for her night's work is the rendition of "The Curse Is Over", sung to the tune of Survivor's Top 10 hit "The Search Is Over"
We were living for a dream,
Waiting for that moment
Taking on the Yanks,
And their dynasty
Now I have to close my eyes
Wish it never happened
The “Curse” is over,
I have no identity
Daniel's performance deserves a special mention, because, as the show's only female, the sports guys in the audience are likely to spend most of their time focusing on her. That kind of pressure can be intimidating to an actor, but Daniel not only rises above it, she triumphs. Her standout vocals are obvious, but she comes off as a real Red Sox fan. Her emotion is real and the lament rings true.
Last but certainly not least, because this is a true ensemble piece from the director down to the stage crew, Senense takes some challenging material and makes it memorable, simply on the power of his voice. Taking milquetoast personalities like David Beckham, Peyton Manning and Tiger Woods and bringing them to life is one thing, making them funny and entertaining (and sympathetic) is a tremendous accomplishment.
In the "Eye of the Tiger" spoof, "I am Tiger", Senense really scores.
Because, I am Tiger and I shoot under par
Have a hundred commercials out for Nike
Just in case you are wondering Buick makes a great car
I’m the most endorsed athlete yes I, am Tiger
You know, the Rockefeller Plaza studio of Saturday Night Live is just a hop, skip and a jump away from the Snapple Theater Center (210 West 50th Street), and I would suggest that the producers of that show take a trip and see just how talented these folks are. Because I have got to say, as a rabid SNL fan, Chuckleball blows The Not Ready For Prime Time Players away. You could take any several of the numbers from this show on any given Saturday and it would be a standout skit.
To that, Goldstein and the rest of the production team deserve a large chunk of credit for the cast's performances, because in this writer's opinion, the casting job done here is really first-rate.
Let's not forget the smooth fingers of musical director Meg Zervoulis. There are no big "production" numbers here, only a piano and great voices. who chime in on and off the stage in really impressive harmony (think that's simple? You try singing four-part harmony when the tenor is singing in front of the curtain and you're signing baritone behind it). Thanks to Zervoulis, the show's only instrument is as much part of the show as the actors. She tirelessly keeps the show moving, and when she's asked to kick it up a notch, her playing becomes another character in the performance.
Does it seem like I like it. You betcha, and I'm going back, if for no other reason than to see what new material they add to their script! I thoroughly enjoyed :Chuckleball" and trust me, you will too. If you're a fan of the theater, and you don't get to get out to see it much because "it's a playoff, game", drag your significant other along. They will thank you. If the reverse is true, get yourself in someone's good graces (or out of the doghouse) by suggesting a night out that starts/concludes with a trip to the theater.
It's that good.
CHUCKLEBALL.com | © 2009 Jason Goldstein Theatricals, LLC
