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Off-Broadway Review: ‘That Golden Girls Show! A Puppet Parody’ at the DR2 Theatre
Posted By: Dianne Gebauer October 04, 2016
The cast of “That Golden Girls Show! A Puppet Parody” (L to R): Arlee Chadwick (Rose), Michael LaMasa (Dorothy), Emmanuelle Zeesman (Sophia), and Cat Greenfield (Blanche). Photo Credit: Russ Rowland
“Welcome all girls, gays, and grannies!” – this is how the audience of “That Golden Girls Show! A Puppet Parody” was appropriately greeted (present company included; indeed, I can proudly check off two of those identifying categories, thank you very much) as the show kicked off this Saturday’s matinee preview performance. It garnered the first of several laughs with a unique brand of self-aware, punchy, and camp humor we would all enjoy over the next hour and a half.
. . .truly excels at bringing a pop culture classic into the 21st century. . .
From the moment you step into the small, intimate space of the DR2 Theatre, you are immersed in the mid-80s. David Goldstein’s (Scenic and Lighting Design) set is deeply reminiscent of that of “The Golden Girls” – all pastels, wicker, and floral prints. Nate Edmondson’s (Composition and Sound Design) pre-show soundtrack includes some old favorites – from A-ha’s “Take On Me” to Bonnie Tyler’s “Total Eclipse of the Heart,” and Rick Astley’s “Never Gonna Give You Up” (a reminder of its pre-meme existence) to Madonna’s “Like a Virgin.” As the lights dimmed, the familiar tones of Andrew Gold’s “Thank You for Being a Friend” blasted out of the speakers, prompting some audience members to sing along, doing their best Cynthia Fee.
Make no mistake: this show is all shoulder pads and bright colors, glamour and sass, puppets and meta humor (jokes about puppets and the episodic nature of sitcoms abound) – and yet, it feels just as fresh, modern, and daring as it does familiar. And by the end of this theme song instrumental, you could practically feel it in the air that we were already hooked. Now, if you’re (fairly) wondering how a “Golden Girls”-themed puppet parody could possibly work – well, it just does. From the mastermind of Jonathan Rockefeller, who both created and directed the show, it is a splendidly fun and heartwarming time at the theatre – a tribute to a groundbreaking and beloved sitcom for anyone to enjoy in 2016.
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Joel Gennari’s (Puppet Creation and Puppetry Direction) impressively nuanced and caricatural puppet designs are almost freakishly spot-on re-imaginings of Bea Arthur, Betty White, Rue McClanahan, and Estelle Getty’s most popular characters. Both he and Rockefeller teamed up to lead their stellar cast, who absolutely make the show: Emmanuelle Zeesman (Sophia), Cat Greenfield (Blanche), Michael LaMasa (Dorothy), Arlee Chadwick (Rose), and Zach Kononov (Stanley). In vocal inflection, accents, exaggerated facial expressions, individualistic body language and movement, excellent puppeteering, and general comfort breaking the fourth wall, each cast member fully embraces and embodies, rather than merely imitates, the unique qualities of both the character and actor they portray.
Zeesman roams around the stage in short, somewhat waddled steps, while perfectly physically encapsulating Sophia’s gruff, stubborn, Sicilian demeanor and accent.
Greenfield’s Blanche is salaciously flirty and charismatic, her hyperbolic expressions and Southern drawl always hilarious, but never breaking character.
LaMasa is Bea Arthur incarnate from the moment he makes his entrance as Dorothy. With a bold, sarcastic tone and zinging one-liners, he delivers a superb performance with truly dry wit and an underlying softness, quickly becoming a crowd favorite.
Chadwick captures Rose’s sweet, kind, yet somewhat dim air with an eager, wide-eyed performance that manages to balance her selfless, yet zany nature.
Kononov plays Stanley, Dorothy’s bumbling, manipulative, and selfish ex-husband to great effect, and as the only character who isn’t a puppet, he is physically represented as an outsider who causes much of the episodic trouble that befalls the four women.
Although perhaps not quite a true parody – the play feels more like it could fit within the canon as a special extended episode of the show, but with slightly stronger language and puppets – this is a show that brilliantly pays homage to and captures the spirit of one of the most unique and hugely successful sitcoms in television history. “That Golden Girls Show! A Puppet Parody” truly excels at bringing a pop culture classic into the 21st century with brash jokes and heart. Whether you’re a lifelong fan of “The Golden Girls” or have only recently caught a re-run marathon, you’ll be sure to enjoy this show.
Running Time: 1 hour and 30 minutes, no intermission.
Advisory: Contains some strong language and suggestive content.
“That Golden Girls Show! A Puppet Parody” is currently playing through December 11, 2016 at the DR2 Theatre in New York City. For more information and tickets, click here.