Hershey Felder’s Rachmaninoff and the Tsar – Writers Theatre – September 21, 2025

The show probably should have been called Down and Out in Beverly Hills, where the less than jovial Rachmaninoff, played by Felder, recaps his life, in his garden, in 1943, shortly before his death, and less than a year after he moved there for his health.  But that title was already taken.

The Tsar in the name of the show is Nicholas II of the House of Romanov, which makes me want to sing (if not for the restraining order) – Romanov, Rachmaninoff, lets call the whole thing off.

I’ve seen several of Felder’s shows, the most recent being when he played Tchaikovsky, and his piano playing was, as always, wonderful. He delves deeply into his characters, but, I must admit that I wasn’t that interested in the long conversations he had with the Tsar about missing Russia and about the downfall of the Romanovs.

Fortunately, however, there was a fair amount of time spent discussing Nicholas’s daughter Anastasia, which allowed me to daydream about Ingrid Bergman while waiting for more music and led nicely to a more interesting discussion in the Q and A postscript.

Such sessions can often be deadly, but not with Felder. I enjoyed his lengthy, informative, detailed responses more than the brooding dialogue that preceded it.

The Band’s Visit – Writers Theatre – March 23, 2024

Here I go again, being heretical.

The Writers Theatre production of The Band’s Visit was highly recommended, across the board, except by me. I am, however, willing to recommend it, especially now that the run is over.

I’ve not seen other versions, so I have nothing to compare it against. I’m told I should see the original movie, that it would help me to better understand the play. I probably will, as I had high hopes for the show, but should that be necessary?

On Broadway, it won the Tony award for Best Musical, but the competition was Frozen, Mean Girls and SpongeBob SquarePants, enough grains of salt to fill a shaker.

I thought the action was disjointed, harmed by multiple subplots, that, from my perspective, went plotz.

And, though I usually have no problem with nontraditional casting, it made no sense to have a woman portray a man, telephone guy, in an underplot that could have used a burial plot.

I would like to praise the lead, Sophie Madorsky. Hers was by far the most interesting character and she easily held my attention, except, in a couple scenes, when I was distracted by a large screen behind her showing a live video of her movements, for no apparent reason.

I did leave the theater on a high note, literally and figuratively, provided by The Concert, for me the best part of the show.