Rain from Heaven

We apologize: We saw Rain late in its run at The New Victory Theater and find ourselves urging you to see it when it’s on the verge of closing (it ends this weekend). This is a unique and extraordinary production by Cirque Eloize — the same troupe that opened the New Victory in 1995 — but don’t think, for an instant, that because it’s at a children’s theater it’s not for you. Like Cirque de Soleil, this is a sophisticated visual experience. Unlike Cirque de Soleil, it is less abstract — and actually far more consistently wonderful. Bring a child if you must, but there is nothing in the show that cries out “Eight Year Old!” Simply put, at the very least you’ll be amused, but mostly you’ll be amazed.

Elegantly written and directed by Daniele Finzi Pasca, Rain has a gentle thread of theme. A series of individual acts visualize a sort of memory tone poem in startling and stunning images that come to life. In fact, they explode into life with performances that are as witty as they are wondrous. Grounding the show is its self-aware sensibility. There is a playfulness at work in which the performers acknowledge that this is a new and different kind of circus. For instance, there is an amazing two-girl trapeze act that is a subtle and sensual lesbian exhibition. (Like we said, this is not inherently a children’s show.)

The juggling in Rain is smart, deceptively difficult, and oh so clever. It is light years ahead of anything in the wildly overrated Lazer Vaudeville. The very idea that this show is leaving town and Lazer Vaudeville is staying would, all by itself, makes us doubt the existence of God.

One of the things that distinguishes Cirque Eloize from any other similar circus is the fact that its performers are so incredibly versatile. They do not perform discreet acts but, instead, can be seen throughout the show performing feats of strength, leaping through acrobatics, juggling, playing musical instruments, and even body surfing on the stage — because it really does rain in Rain! In addition, lighting is rarely a major component in a circus, but it is in this show; the lighting design is breathtaking. Plaudits for Martin Labrecque for his imagination, his technical prowess, and the sheer beauty he creates with light.

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Hey There Big Times

First cousin to the circus is vaudeville, and there is a delicious pastiche of that great American form of entertainment called Big Times playing downtown at Walkerspace (46 Walker Street). Written and performed by its three female stars, the show is a loving, tongue-in-cheek sendup of every cliché in the book. You enter the theater and there is a combination of cabaret seating and bleachers. Free popcorn is yours. An old-fashioned stage, complete with colored lights, and easels to announce each scene, is spread out before you. Up above the stage, in clear sight, are The Moonlighters, a four piece band that provides the spot on period musical accompaniment, oftentimes singing as well as playing.

The piece begins with three women in a back stage dressing room. Reunited performers, they are about to go on stage together — and when they do, we will witness a vaudeville evening within the context of a larger show. Moments later we are happily plunged into the early twentieth century as we see these three very different young women get inspiration to become vaudeville stars. They begin in the audience in a wondrously comic invention of imagination as they watch and react to a show we cannot see. One of the girls is a ticket taker (immediately fired for watching the show), another is a stripper who snuck in to the show to avoid the cops, and the third is simply a kid — and simple is the key to her character — that is just plain enamored with show business.

The three actresses play a wide variety of parts throughout the show but these three main characters are the ones we track. And we track them with glee in one nutty scene after another. For instance, we witness the adorable simpleton, Nellie (Mia Barron) in an orphanage working on her patter ad infinitum (gloria sic comedia), annoying her goody-two-shoes roommate (Maggie Lacey) and the stern nun (Danielle Skraastad) who runs the place. At one point, she actually stumbles upon the joke, “Why did the chicken cross the road?” You’ll have to cross over to the other side of Walker Street to hear the topper punchline.

Lacey’s main character is named Sadie. Her comedy comes out of her steadfast literal mindedness: She can’t keep a job, and nothing can sway her from misunderstanding everything everybody tells her. She’s a cute Lou Costello. But it’s the tough broad, Lucy, played by Skraastad, who ultimately steals the show. Delivering her lines with the comic brittleness of Eve Arden, she is sharply funny, exceedingly versatile, and stunningly beautiful.

All three make a strong ensemble. They are expertly directed in their delightful doings by Leigh Silverman who keeps the pace brisk and the comedy light and lithe. A lot of folks in the audience brought their kids. That works. Though, like Rain, this show it isn’t specifically geared toward younger audiences, children can certainly get it and enjoy it.

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Cabaret Hotline: Fifteen Years and Counting

Cabaret Hotline, created and published by Stu Hamstra, celebrated its fifteenth anniversary (and Mr. Hamstra’s 66th birthday) with an all-star benefit cabaret show at The Encore on Wednesday evening. There were several noteworthy elements to this get-together, not the least of which was a community acknowledgement (by virtue of a packed house and an impressive panel of performers) of Mr. Hamstra’s importance and influence in the sometimes insular world of cabaret. Even more than that, there was an outpouring of affection for the man as well as a raft of thank you’s for his help in the launching of so many careers.

There was also something wonderfully healing about this particular show. It arrived at a moment in time when MAC-related issues have sharply divided the community. Mr. Hamstra, himself, has taken sides to deplore MAC’s recent move to drastically change the process by which MAC Award nominees are chosen. Nonetheless, both in the audience and on the stage were some of the most vocal proponents of each side of the argument, all of whom put aside their particular points of view to give Mr. Hamstra his due and to enjoy the talent that is, first and foremost, the hallmark of New York cabaret. The show, in that respect, was like a salve on a wound.

And now we finally get to the show, itself, which featured a hilarious roast-like introduction of Mr. Hamstra (who long ago turned Cabaret Hotline into Cabaret Hotline Online) that was written and delivered by Rick Skye (off-stage) in the mimicked voice of cabaret favorite Sidney Myer. Having set the playful mood, there were surprise visits by Peggy Lee (Chuck Sweeney) who comically got Stu’s name wrong and a flamboyant Liza Minnelli (Rick Skye, this time in the flesh as well as in drag).

Sandwiched between the opening and closing performers, Julie Reyburn and surprise guest Sharon McNight, there were plenty of standouts: among them Nancy Witter’s standup comedy, Michael Vaccaro’s pistol dance, Lennie Watts’ stirring tenor, Marcus Simeone’s take on Johnny Mathis’ “The Twelfth of Never,” and the deeply felt singing of folks like Lucille Carr-Kaffashan, Jeanne MacDonald, Sue Matsuki, and Carolyn Montgomery. Even Mr. Hamstra got into the act, gamely talk-singing his way through a comedy number written by Dottie Burman about the love affair he’s having with his computer.

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[To contact the Siegels directly, e-mail them at siegels@theatermania.com.]