Portrait of Murray Horwitz

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Unlike many songbook-driven shows or jukebox musicals, Richard Maltby Jr.

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These deficiencies show in Bucks County Playhouse's muddled though mostly well-sung production, directed by Hunter Foster. It starts with the set: Wilson Chin and David L.

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Arsenault's built-out barroom with a staircase leading up to a raised balcony, which fails to create a unified environment. The show opens with a pair of dancers added to the script , wiping down glasses and setting up tables in between moments of flirting and some quick spins and lifts. Later, this pair Richard Riaz Yoder and Alicia Lundgren will provide most of the show's choreographic sizzle. At the start, their presence only initiates confusion. The rest of the cast filters in, and the set during Act One serves as bar, hotel lobby, casino lounge, and a Radio City-style stage for USO performances.

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  • Program notes indicate "Harlem" as the general setting, but the production switches locales with few coordinated costume changes. This dearth wouldn't distract as much if the performers had taken any care to create distinct characters. But again Foster's staging hampers their abilities.

    Songs clearly meant to have objects such as "Your Feet's Too Big" are sung with no one else on stage; at other times, the direction strives for the obvious: Lyrics mention a dog and one of the dancers runs across the stage chasing a toy puppy. A few numbers shine, though.

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    Darius de Haas draws laughs as a hallucinating dope fiend in "The Viper's Drag," Adrienne Warren adds a bit of sass in multiple numbers, and the entire cast achieves a portrait-like poignancy in its a cappella rendition of "Black and Blue. Get the news you need to start your day. But these sparse moments can't carry the evening. And while I enjoyed Lorin Latarro's swing choreography and tap numbers for the two dancers, why couldn't she get the five scripted cast members to do anything more than a few arm waves and movements in and out of a circle?

    The band, particularly David Alan Bunn on piano and trombonist Brent White, strode through two hours of music. Semyon Bychkov, music director Alisa Weilerstein, cello. Latinx in DC Showcase Concert.

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    Vernon Hospital in Mt. Other interests included gardening and sewing. Her husband, Mordecai Horwitz, died before her. She is survived by two sons, Brahan Horwitz of Teaneck, N. In Ages of Man, actor Marc Horwitz provides audiences with a new definition of tough.

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    Horwitz might not chase criminals for a living or enter burning houses to rescue trapped children. All he has to do is stand on stage by himself and talk to people who aren't there. He just has to deliver minutes of sonnets and Shakespearean dialogue while shifting between two dozen roles. He merely must act his heart out inches from a room full of blank-eyed, arms-crossed, foot-jiggling theatergoers who can see every drop of sweat trickling down his face.

    A man of many stories and surprising talents.

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    Wynn Rousuck and By J. Murray Horwitz is a Renaissance man in an age of specialists. He's been a professional circus clown, songwriter, playwright, public radio executive and arts administrator.

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