Martini Talk: Chuckleball [link] [pdf]
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.

Sports Beat
by Lloyd Carroll on 11/20/07

If you are looking for a fun theatrical night in New York, check out a new show called Chuckleball at the Snapple Theater Center on 50th Street and Broadway that satirizes sports the way Forbidden Broadway lampoons big-time theatrical productions. Among the musical parodies that would make "Weird Al" Yankovic proud are "Who Let The Dogs Fight? (Vick! Vick!"); "My Grill," a tribute to George Foreman's Lean Mean Grilling Machine set to the The Temptations' "My Grill"; and Daniel Powter's "Bad Day," with Tom Glavine lamenting his pitching performance against the Florida Marlins in the final day of the season. The young talented cast makes this a very enjoyable and rather inexpensive night out in the big town.

Sports stars satirized in 'Chuckleball' [link] [pdf]
by Josh Harrison on 11/30/07

Tiger Woods steps into the bare space. He is wearing his trademark Nike cap and a determined expression as he walks confidently to center stage. Once there, he clasps his hands as though he is holding an invisible golf club and smiles. He stands, frozen, while the lights shift around him. Soon, a spotlight pours down on him and music begins. The song is a classic: Survivor's "Eye of the Tiger." With each of the song's famous opening chords, Tiger strikes a new pose, changing positions with sharp movements. Eventually he launches into a perfectly choreographed dance sequence straight out of a Michael Jackson music video. With a smile on his face, he starts to sing.

Turning a famous golf champion into a character in a musical comedy is no small feat, but it is just one of the surprising scenes in "Chuckleball: Jailhouse Jocks." Described as a "Forbidden Broadway" for the sports world, "Chuckleball" puts today's sports headlines onstage to the tune of popular songs and show tunes. The current production of "Chuckleball" covers stories as recent as former Yankees manager Joe Torre's departure, and the program - called "Playball" - notes that new jokes are constantly being added to the lineup.

Although I did not get to see a full production of "Chuckleball," due to a show cancellation, I was given the opportunity to watch the cast film skits for publicity.

"Chuckleball" has a difficult mission to accomplish - think theater for the ESPN set - but it manages to blend sports and musical comedy with style. Its humor effectively caters to both its intended audiences.

One great scene has the cast gathering into a straight line to belt out a parodied rendition of "Seasons of Love." The staging and harmonies pay homage to "Rent," while the lyrics, lamenting the sad state of the Yankees bullpen, echo the sentiments of many New York fans. Another scene brings the cast together in the style of "The Music Man" - except that instead of Harold Hill railing against the evils of pool and gambling, "Chuckleball" has Senator George J. Mitchell describing the harmful effects of human growth hormones.

Its lyrics are clever and its songs are easily recognizable, but the real strengths of "Chuckleball" are the sports legends and the actors who play them. Every character, from Barry Bonds to Posh Spice, is a skillfully crafted caricature, put onstage to be lovingly mocked. Justin Senense is hilarious as David Beckham, playing the soccer superstar as a fop who dances merrily despite his infamous injury. Senense also stands out as a police officer who sings of football star Adam "Pacman" Jones' trouble with the law. Two of the actors, Noah DeBiase and Katey Daniel, work especially well together, playing a Jets-obsessed husband and an ignored wife to the tune of "Monday, Monday"" or a binoculars-wielding stalker and tennis pro Maria Sharapova in an adaptation of "Maria" from "West Side Story." Mike Mitchell, Jr. lends a more immediate form of comedy to the cast; he has his best moments in short scenes. His imitation of hyperactive boxing promoter Don King demands attention and his Marion Jones must be seen to be believed.

"Chuckleball" does have its weaker moments. Some of the lyrics are predictable and the transitions between numbers can be choppy. But when "Chuckleball" gets going, it taps into the charisma and energy of Broadway as well as the rowdy enthusiasm of a good sports broadcast. The cast is energetic throughout - they clearly have as much fun as the audience with every song. This keeps the jokes from seeming contrived, since the cast is sharing them as well. •

"Chuckleball: Jailhouse Jocks,"
Snapple Theater Center
210 W. 50th St., $45
www.chuckleball.com
Runs through Dec. 30th

Sports Spoof Opens Off-Broadway
by Howard Goldin on November 22, 2007

The mixing of musical comedy and sports is not a recent creation. More than a half-century ago, Douglas Wallop's book, "The Year the Yankees Lost the Pennant" was adapted into the Broadway hit, "Damn Yankees." Since that time, many theatrical productions have had sports as their theme. An extremely entertaining production using music and comedy to parody recent sports events and personalities, "Chuckleball" opened last week at the Snapple Theater Center at 210 West 50th Street.

The original production of "Chuckleball" was created by musical theater producer Jason Goldstein in 2003. Goldstein, a Rutgers University graduate, explained the reason behind his creation, "I wanted to do something that combined my passions for sports and theater. My idea was to create a show that sports fans, who aren't particularly known for their love of theater, could really enjoy." The present edition is an updated incarnation of the shows produced since 2004. The cast and material change periodically as the talented cast members obtain more remunerative theatrical jobs and as more recent and more ridiculous sports events take place.

"Chuckleball: Jailhouse Jocks," is a series of twenty-five short "blackouts" performed by a cast of four young, multitalented stage performers. Each of the four takes on a variety of roles in the fast-paced musical and comedy revue. Twenty year-old Katey Daniel, is the lone female and the youngest of the four. The Tacoma, Washington native is making her New York debut in "Chuckleball." She has appeared in television and theater on the West Coast. Daniel is not a stranger to the city as she recently graduated from the American Musical and Dramatic Academy of New York. She, obviously, learned her craft well. Her talent, good looks, and appealing stage presence should lead her to great success. Among those she portrayed in the show were Michelle Wei, Victoria Beckham, Maria Sharapova, and the frustrated wife of a football fanatic. Noah DeBiase also learned his craft in New York. He graduated from New York University's CAP 21 Musical Theater program. The experienced off-Broadway performer adds to the success of "Chuckleball" with his work as Tom Glavine, James Dolan, George Mitchell, and Jason Giambi. His beefed up Giambi singing "I'm Working My Way Back from Juice, Babe" was hilarious. Mike Mitchell, Jr. has appeared locally in stage and television. His uncanny Barry Bonds singing "I Don't Get Booed in San Francisco" was a highlight of the show. Mitchell also impressed the audience with his work as Isiah Thomas, Michael Vick, Kobe Bryant, and Don King. his numbers were very deservedly well-received. Justin Senense has toured in major musicals including: "The King and I," "Miss Saigon," "Beauty and the Beast," and "Joseph and the Amazing Technicolor Dreamcoat." His portrayals of Tiger Woods, Eli Manning, and David Beckham were humorous and tuneful.

The performance was a nonstop 90 minutes of songs and comedy. The performers needed no scenery or special effects to provide an entertaining evening to those in the audience. The rapid change of costumes and wigs was all that was necessary to transform a performer into a believable version of the sports figure being portrayed. Musical Director Meg Zervoulis accompanied the singing with her excellent work at the piano. The piano never stooped tinkling and made one forget there was not an orchestra in the theater. One could not stop one's foot from tapping to the rhythm of Zarvoulis's piano. The witty lyrics written by Goldstein and Ian Nemser were sung to popular tunes that were familiar to many in the crowd. Smokey Robinson's "My Girl" became "My Grill" sung by George Foreman. "I Left My Heart in San Francisco" became "I Never Get Booed in San Francisco." The Rocky theme, "Eye of the Tiger" was turned into a Tiger Woods number, "I am Tiger and I'll Sell Anything." The refrain "Glory, Glory, Hallelujah" from the "Battle Hymn of the Republic" became "Torre, Torre, Sayonara" as sung by the ensemble.

The show is presently housed in the Snapple Center Studio Theater. Performances are scheduled at 8 pm on Monday, Friday, and Saturday and at 7 pm on Sunday. Tickets are priced at $45. The stagehands' strike against Broadway shows has adversely disrupted the plans of many tourists and local theatergoers. The availability of "Chuckleball" is a wonderful alternative for those who planned a visit to the theater and wish to have an entertaining theatrical experience. The show is also perfect for anyone who has the responsibility for staging entertainment and a corporate function or foe a college audience. It is a relatively inexpensive booking that will royally entertain an audience.

Chuckleball Is A Grand Slam! [link] [pdf]
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 plays at the Snapple Theater Center, 210 West 50th Street (at Broadway) on Mondays, Fridays and Saturdays at 8 PM and Sundays at 7 PM. Calling (212) 921-7862 for tickets. For more information visit chuckleball.com.