La Soiree *** (adult content)

The folks who brought "Absinthe" and "Empire" to the Spiegelworld tent are back in town with a newly titled, if not newly minted, show at Union Square Theatre. This erotically charged circus-cabaret-burlesque show is definitely not for the kiddies. Many of the acts are either identical or similar to previous ones. There's beefcake aplenty including The English Gents, a sensational two-man balancing act, and Bath Boy, a hunky bare-chested man in wet Levis performing tricks on parallel hanging straps from a bathtub. Plastic sheets are thoughtfully provided to protect those sitting in front. There are a few other enjoyable acts I can't name for lack of a program. This year's show adds full frontal female nudity to the mix and seemed generally a bit raunchier. There were two acts with lots of audience participation that dragged a bit. At almost two hours including intermission, it was too much of a good thing. If you enjoyed either or both of their previous shows -- and I did -- you should like this one too.

Murder Ballad **

(Please click on the title to see the complete review.)
This through-sung rock opera by Julia Jordan and Juliana Nash, which received positive reviews at Manhattan Theater Club Stage II last year, has reopened at the Union Square Theater, which has been reconfigured for the occasion. Traditional seats in a U surround a central area set up as a bar, complete with pool table and cabaret seating for those who want to be in on the action. The four characters are lovely Sara (Cassie Levy), who, after a tempestuous affair with hot bartender Tom (Will Swenson), settles for marriage to Michael (John Ellison Conlee), an older, less photogenic professor of poetry. (Too bad the professor wasn't available to assist with the lame lyrics.) When Sara gets the seven year itch and resumes her affair with Tom, there's trouble, as sexy narrator (Rebecca Naomi Jones) tells us. I wish I could join the chorus of praise for the show, but it did not engage me at any level. The tabloid-worthy tale, the deafening music, the pointless running to and fro and standing on chairs were turnoffs for me. I did not particularly care who would be murdered or who did it. The performances are energetic and the voices are fine when they can be heard over the musicians. The large set, designed by Mark Wendland, diffuses the action too much. Jessica Pabst's costumes are apt. Ben Stanton's garish lighting in neon colors is bilious. Trip Cullman's direction seems to be based on the idea that if you keep the actors running around enough, no one will notice the thinness of the material. I might have liked it better had I not seen the other far better environmental pop opera ("Natasha, Pierre and the Great Comet of 1812") first, but I doubt it. Fairness compels me to state that most of the audience seemed to be enjoying it. Running time:  80 minutes without intermission.

Traces ***

From the city that brought us Cirque du Soleil comes a much more modest, but no less talented, group of circus artists called 7 Fingers, now appearing at the Union Square Theatre. Without costumes, makeup or fancy sets, the five men and a woman perform a series of breathtaking stunts that had the audience gasping. Jumping through hoops or riding skateboards may not sound very exciting, but it is when they do it. The brief introduction of each performer and the size of the theater help create an intimate atmosphere. The attempt at a unifying theme fell flat, but that's a minor quibble. I do wish they had left out the occasional overpowering blast of music and the seemingly obligatory strobe lights. Instead of 7 performers and 90 minutes, there were only 6 performers and 75 minutes. I do hope the adjustment was not due to injury. The theater was far from full, which is quite surprising considering the critics' unanimously favorable reviews. Note: There are rush seats at $25 available two hours before each performance.