Secial Meeting on French American School of New York Called for Monday October 23. NO VOTE THOUGHT

WPCNR COMMON COUNCIL-CHRONICLE EXAMINER. From the City Clerk. October 19, 2017:

The White Plains Common Council will hold a Special Meeting on Monday, October 23, 2017 at 6:00 PM in the Common Council Chamber, City Hall, 255 Main Street, to discuss the application submitted on behalf of the French-American School of New York requesting Special Permits for (1) a “Private Secondary School,” with associated parking and athletic fields; and (2) accessory tennis court structures at 336 Ridgeway, and the proposed resolutions related thereto. There will be no vote taken   (on the applicaption)  at this meeting.

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Family Medicine Physician

New York Presbyterian-Presbyterian/ Lawrence Hospital


Hunger in Westchester County

Availability of the Right Foods in Westchester County

Evaluating Patients’ Conditions as Nutrition Related–

Her Two Key Questions that can Identify Nutrition Deficiency Related Conditions

How a Change in Nutrition Can Affect Your Health

How Soon Changing Eating Habits Can Improve Your Health 

How Soon A Nutrition Regimen can make a big difference in your health 

John Bailey interviews Dr. Kennedy Tonight on


The Tri-State Area’s Most Relevant Interview Program

8 PM in White Plains on Altice-Cablevision Ch. 76

Countywide on Verizon-Fios Ch. 45


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WPCNR STAGE DOOR.Theatrical Review by John F. Bailey. October 16, 2017 UPDATED 10-18-17:

White Plains Performing Arts Center became Broadway bigtime this weekend with the arrival of a most friendly Ghost

It’s got a contemporary Broadway Phenomette , Natalie Weiss of Dear Evan Hansen and Steven Douglas master of the male lead, Sam Wheat in the Ghost national tour, are a couple you will love at first sight, their chemistry is that good!

The lovebirds stir memories of how love feels when Ms. Weiss makes that old/new/feeling of first love stir irresistibly in fond memory with her technicolor voice effervescing and shining like diamond facets of emotions  in  composer Bruce Joel Rubin’s  show starter:

Here right now, here right now

Here right now is where we make it

Everything we’ll ever need

…for once it feels like it was always meant to be

As long as we stat together,

We’ll just keep getting better till

It it really doesn’t matter what comes after or before

When I’m with you there’s

No confusion everything is clear

When we’ll have weeks

And months and years whatever

We were meant to be together,

You were sent to me forever


Good, isn’t it?

Makes me want to take Brenda Starr on a date. Wait until you hear Ms. Weiss, as Molly the artist, sing it and Mr. Douglas playing Sam Wheat echo her lyrics standing up to Ms. Weiss’s consummate coloratura runs of new love’s heights in an intricate duet as  they  putter about their new Brooklyn loft. This song made me tear up, hopeless romantic that I am.


The devotedness of the couple is demonstrated when Mr. Douglas doo-wops Unchained Melody, the old Righteous Brothers’ close-dance classic. Mr. Douglas hits all the falsettos and the deep depths of bass with quiet desire of this classic song of longing. He masters the doo-wop style, and I know my doo-wop. His getting down on his knees just melts Molly.

Dropping by their loft apartment is the scene stealing Wayne Shuker as Sam Wheat’s righthand man in Mr. Wheat’s mutual fund businees, Carl Bruner.  Carl does everything for Sam, and wants to do so much more. Shuker gives the Bruner personality a J. Pierpont Finch attitude about him. Sycophantic, efficient, hard-working, offering to do more and more,so much more. (Finch is the conniving character in How to Succeed in Business Without Really Trying, the role that made Robert Morse famous.)


Morning in NYC:  the show steps it up with choreographer Lexie Fennell Frare’s intense rush hour scene of New York commuters, lead by Mr. Shuker (above, right) and Mr. Douglas in a syncopated, up tempo mass commuting scene that uncannily (this is an uncanny show)matches the exact pace of how rush hour commuters walk to their jobs in Manhattan and singing New York is not all romance and loft apartments:

More and More

This is the life New York

This is the time we’re given

Its fight or flight, New York

Cause it’s the way we’re driven

This is the score, New York

This is the destination

Where it takes more, New York

You need the right equation

…this is always such a brush

Sending millions with one touch.

As they prepare to go out that night, Molly suddenly broaches the idea of marriage to Sam in as it turns out is ironic but highly significant, she asks him if he loves her. He says “What do you think?” He sings:

I say it with my eyes,

When I hold you close at night,

When I make you scrambled eggs,

When I tell you silly jokes,

When I turn out the light.

She answers:

Sometimes you need to hear it, Sam.

I need to  hear it.

Or else you begin to fear;

Begin to fear it isn’t true

So I can really feel it,

So I can really feel it’s true.

I’d love to hear it everyday,

But even just this one time it’s OK

I can live that way

Then it’s night and Molly and Sam are coming out of an artshow late in the evening, when a stranger accosts Sam demanding his wallet. He tries to protect Molly. There is a scuffle. A shattering shot is heard. Shattering because Sam winds up in an emergency room and he is trying to communicate.

He doesn’t understand why he is ignored. He meets another ghost, Kenneth-Kyle Martinez whose comic You Gotta Let Go–timed perfectly–  informs Sam of his new status. He is between this world and his ultimate fate.


The ritual of saying goodbye is wrenching. Sam watches Molly (Ms. Weiss above) on his grave saying good-bye, but she cannot see him or hear him. A scene wonderfully staged by Scenic Designer Ann Beyersdorfer, and lit imaginatively by  Lighting Designer Matther Guminski.


Sam wanders to Molly’s apartment via subway, the A Train which roars through the proscenium of the WPPAC in a startling moving three dimensional projection (with Sam and passengers appearing inside a moving subway car. It is an effect right out of today’s high-tech Broadway productions–one of the best manifestations of a train I’ve seen.

Projection Designer Ian McClain has created an ingenious, spectacular effect, Later Sam is taught how to move objects by a ghost who haunts the A Train, played by Greg Laucella who delivers a rap number Focus with a righteous style that tells Sam the secret of channeling all his  energies.

In his observations Sam learns why his wallet was stolen and learns Molly is in danger. He seeks out a medium to get a message to Molly.


At the Psychic’s: Elisha Marie as Oda Mae Brown, left in a trance, with Steve Douglas as Sam Wheat trying to get a message through, with Jaela Cheeks-Lomax right as Clara Ms. Brown’s assistant and Chloe Kostman, a customer trying to locate her husband.

Then the link to Molly appears in the outrageously over-the-top,show-stealer Elisha Marie as Oda Mae Brown, psychic healer, who uplifts the spirits with the funky Are You a Believer? She and Kenya Hamilton and Jaela Cheeks-Lomax as her assistants Louis and Clara  send up The Pointer Sisters with this choreographically inspired song extolling the virtues of psychic exploration into the unknown.  Elisha Marie starts to conduct a séance and hears a voice in her head, the voice of Sam Wheat.

Act II finds Molly dealing with her loss of Sam, and her show-stopper anthem beginning of her comeback from loss, Nothing Stops Another Day, acknowledges Sam, celebrates what they had and Ms. Weiss commanding all-in commanding way of wrangling the most out of lyrics lifts you up when you feel the light of her healing voice:

And so I locked myself away

Padding my heart behind a wall

I couldn’t feel it beat at all

But I’m feeling it today

Because the world keeps turning and I guess it always will

I can choose to turn around,

Or I can choose to just stand still

Either way, nothing stops another day.

I now I have to let go

Of a life I’ll never know, hard as it may be

I’m trying to understand instead there’s another life ahead.


Sam meanwhile becomes aware of why he was killed.

With the help of the comic, incredulous Oda Mae Brown, he keeps digging

Ms. Marie’s Oda Mae is reluctantly the assistant detective who unravels the mystery of Sam’s fate and ultimately lifts the lovers to an understanding, where both accept their fates in a way that sends the audience home renewed in spirit.

Ms. Marie busts a ,move that has the audience clapping along when she sings about a coming windfall, in I’m Outta Here!  Ms. Marie’s perfect moves and timing as well as phrasing just sells this great number.

Ghost was a movie in 1990, based on the 1987 Wall Street scandals and was very popular :it was turned into a musical in Great Britain, ran in the West End and came to Broadway and went on national tour.

It is a great Halloween show. Romance. Mystery. Ghosts—lots of them.  Laughs even more. Heartbreak healed. The surreal spiritual stylings of Natalie Weiss, whose acting is as good as her ability to move you with her sublime voice that fills the theatre, gets you deep, draws you into feelings you do not feel very often. Perhaps once in a lifetime, if you’re lucky.

Ms. Weiss has according to the producers always wanted to do the role of Molly in Ghost, and based on the performance Sunday, it’s her part.

The orchestra conducted by Music Director Stephen Ferri accompanied without dominating, and supported just right.

The show doesn’t have one great Molly, but two.

The other is Molly Seidel, Custume Designer for the show  whose inspired and accurate creativity in costuming the 1980s, contributes to the menace of the Subway Ghost and the mugger, makes the scenes so much more real. She dresses Wall Street: the attache cases, the gray suits with the thin ties, the clean-cut look, the sickening conformity and sycophancy and dripping greed of Mr. Shuber’s “Carl,” the menace of money is awesomely styled. Wall Street Sharks swim swindlingly through the canyons of Manhattan in the More, More, More  extravaganza thanks in part to Ms. Seidel’s haberdashery. Ms. Seidel is a White Plains High School graduate of 2007, art school graduate, who now lives in Brooklyn and she designs shows.

Joseph C. Walsh I believe has probably done the best directing job of any show WPPAC has produced, including his own. He has the actors’ timing down, attitudes natural, emotions raw, and special effects executed perfectly and fast insync. Lighting, choreography, staging , scenery as real as it gets. I think he will probably tell it’s his best show ever. He may never equal this one. He should savor it.

Ghost works.

It will send you to Heaven.

It’s a Must-SEE. Go to to see the 6 dates now remaining or call the box office at 914-328-1600.

Note from God: I note that WPPAC has added a matinee on Thursday, October 18, tomorrow at 2. Call now…your seat is waiting.

All pictures, courtesy, White Plains Performing Arts Center, by Kathleen Davisson.









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WPCNR FOR THE RECORD. From the Citizen Budget Commission website. October 15, 2017:

Editor’s Note: Friday the following report from an independent citizens commission was released on the Citizen Budget Commission website which was widely quoted as the basis for the reports of a doubling of the toll on the new Mario M. Cuomo Bridge across the Hudson.

However, it should be noted that the toll figure has not been determined yet by the state. Here is the copy of that report as posted on the Citizen Budget Commission website.

(The Citizens Budget Commission (CBC) founded in 1932, is a nonpartisan, nonprofit civic organization whose mission is to achieve constructive change in the finances and services of New York City and New York State government.  Our mission is rooted in serving the citizenry at large, rather than narrow special interests; preserving public resources, whether financial or human; and focusing on the well-being of future New Yorkers, the most underrepresented group in city and state government. The wesbite is at

Bridging the Financial Gap

Funding the Governor Mario M. Cuomo Bridge

October 12, 2017
In late August the Tappan Zee Bridge replacement, the Mario M. Cuomo Bridge, opened to traffic. How will the costs of constructing this new bridge be funded?A loan from the federal government, bonds issued by the New York State Thruway Authority, and cash funneled to the project by the State will pay the bills in the short term. In the long term, approximately $2.9 billion in loans and bonds will need to be repaid. The debt service cost should be paid by a toll increase for bridge users, but the Governor and Thruway Authority have remained mum on what the toll will be and when the increase will take effect.Based on current debt projections, the toll could be as much as $10.61 for passenger vehicles; less than initial projections of up to $14, but approximately double the current $5 toll.

History of the Bridge

The idea of a tolled road connecting New York’s major cities was initially proposed in the 1940s. This superhighway would run from Buffalo to western Rockland County and connect the rest of the state to New York City via New Jersey highways and the George Washington Bridge. In 1950 Governor Thomas Dewey changed the plan, bringing the highway all the way to New York City, necessitating a Hudson River crossing. Though other points along the river would have been easier to cross with a bridge, the State selected the Tappan Zee portion of the river because it lay beyond the Port Authority of New York and New Jersey’s (Port Authority) jurisdiction, and thus all toll revenue could be used by the Thruway Authority to subsidize the rest of the system.1The Tappan Zee Bridge opened on December 15, 1955 at a cost of approximately $80 million, or $735 million in 2017 dollars. Though an engineering marvel at the time, the bridge included design flaws, which would lead to a need for costly repairs, or its eventual replacement.2 Those crossing the bridge on opening day paid a toll of 50 cents, approximately $4.50 in 2017 dollars, and local residents could purchase a monthly passbook for $10, $91 in 2017 dollars.3Plans to replace the Tappan Zee Bridge began in 1997 when Thruway Authority officials determined that a new bridge would be more cost effective than repairing the existing span. Though the project’s estimated cost climbed as high as $19 billion at some points, Governor Andrew Cuomo eliminated many of the nonessential improvements associated with the project, received federal assistance in fast-tracking the permitting process, and qualified for a $1.6 billion federal loan.4  After serving travelers for nearly 60 years, plans to replace the Tappan Zee were finalized in 2013.The first span opened on August 25, 2017, accommodating only westbound traffic. Later, on October 6, 2017, the first span began to serve eastbound traffic as well while the old Tappan Zee is removed and approaches are built for the second new span. The second new span is scheduled to open in 2018, and westbound and eastbound traffic will each have its own new crossing structure.5

Financing the Bridge

Tappan Zee Constructors, LLC, a consortium of builders, designers, and engineers, will complete work on the new bridge under a fixed-price, design-build contract.  The bridge’s total cost includes $3.1 billion for the design-build contract and approximately $800 million for administrative and contingency costs.The State is funding the $4 billion Cuomo Bridge with pay-as-you-go (PAYGO) capital contributions and borrowing. Approximately $1.1 billion in PAYGO comes primarily from the Thruway Stabilization Fund.6 The State established this fund in the fiscal year 2016 budget, appropriating $1.3 billion of the money received from financial settlements of litigation with financial institutions won over the past several years. In fiscal year 2017, the State budget appropriated an additional $700 million, increasing the fund to $2 billion. This fund allows the Thruway Authority to freeze tolls on the system through 2020, with about half of the funds earmarked for the new bridge and the remainder for other Thruway Authority priorities.The remaining $2.9 billion cost is financed from two types of borrowing. In 2013 the federal government approved a $1.6 billion Transportation Infrastructure Finance and Innovation Act (TIFIA) loan.8 TIFIA loans are granted by the U.S. Department of Transportation (USDOT) for major infrastructure projects undertaken by states, municipalities, and private partners, and provide access to credit and reduced debt service costs compared to other types of debt. The TIFIA program provides flexibility in the payback period, allowing borrowers to defer repayment up to five years after completion of the project. The USDOT estimates that use of a TIFIA loan, rather than other debt options, will save the Thruway Authority approximately $350 million over 35 years.9 The Thruway Authority has already issued $850 million in bonds and will issue up to $431 million more to cover the remaining costs, depending on whether additional administrative and contingency costs are incurred. Through June 2017, $279 million of contingency costs have been incurred, leaving about $528 million in unspent administrative and contingency costs, suggesting the final cost of the bridge could fall below the $4 billion projected price.10
Table 1: Financing the Mario M. Cuomo Bridge
The estimated $2.9 billion in TIFIA loan and Authority bond proceeds will require a revenue source to fund this borrowing. The Thruway’s TIFIA loan application included an increase in the new bridge’s toll as a means for financing the TIFIA debt.11 The delayed onset of the TIFIA payback period allows the Thruway Authority to postpone any increases through 2020; the extent of the toll increase on the Cuomo Bridge, or toll increases across the system that will be required after the freeze ends, remains unspecified.

Increasing Tolls on the New Bridge

A toll increase on the Cuomo Bridge is an equitable means of funding the project: the cost of the asset is borne by those benefiting from it through increased user fees. The State’s TIFIA loan application estimated a round-trip toll of $14 for passenger vehicles and $8.40 for commuters.12  These estimates assumed the bridge would cost up to $5.4 billion and be financed entirely by federal and state debt.13 Based on the updated estimates, which include cost savings from the design-build contract and reduced debt from the use of Thruway Stabilization funds, the new tolls would range between $9.67 and $10.61 for passenger cars using E-ZPass, and $6.74 and $7.45 for local residents with commuter toll plans. (See Table 2.)14

Table 2: Projection of a New Toll on Mario M. Cuomo Bridge
Though doubling the toll on the new bridge would represent a significant change for those that cross it, this higher toll compares favorably to the nearest alternative crossing, the George Washington Bridge, which is approximately a half hour south of the Cuomo Bridge. The George Washington Bridge, which is owned and operated by the Port Authority, assesses a toll between $10.50 and $15 for cars, depending on the time of day and form of payment. The Cuomo Bridge with its toll increase would still represent a savings, between 28 percent and 34 percent for E-ZPass commuters, and 25 percent and 32 percent for those paying without E-ZPass compared to the George Washington Bridge.15 Studies show that demand for the use of the Tappan Zee crossing is inelastic; the projected toll increase would not decrease usage significantly.16

Increasing Tolls on the Thruway System

Based on debt service costs, it is also possible to illustrate the magnitude of a toll increase across the entire Thruway system to pay for the Bridge’s debt. Annual debt service costs for the Cuomo Bridge’s loans and bonds will average $174 million.17 A 24 percent increase on all Thruway tolls including the Cuomo Bridge, assuming no decreases in utilization, would be required to fund the increase in debt service, and the new standard toll for the Cuomo Bridge would increase by $1.19, from $5.00 to $6.19. Drivers on other portions of the Thruway, not crossing the Cuomo Bridge, would see their tolls increase 24 percent, despite not using the new bridge.18

This systemwide toll increase is both inequitable and unlikely. Though an across-the-board increase of Thruway tolls to pay for the bridge would stretch the connection between users of the bridge paying for its construction, operation, and maintenance, it would still represent Thruway tolls supporting Thruway infrastructure. Current tolls, on the old bridge, represent a significant share of the revenue generated by the entire system: nearly one-fifth of all Thruway revenues are generated by the Tappan Zee Bridge.19 The State Budget Director recently stated: “Tolls on the bridge will cover all of the remaining costs of its construction.”20What remains unsaid, and is perhaps unknown, is the extent to which the new Cuomo Bridge will support the rest of the Thruway.


Increasing the toll on the new Cuomo Bridge alone is the appropriate approach, and the new toll should cover all of the bridge’s debt and maintenance costs. The announced systemwide toll freeze runs through 2020, preventing the toll increase from coinciding with the functional completion of the bridge in 2018, when debt service will begin to be paid. Instead of allowing drivers to use the new bridge for three years before facing a toll increase, the freeze should be reconsidered and the Thruway Authority should increase tolls by the rate necessary to service the debt when the costs are payable. Even if the toll doubles, the Cuomo Bridge still represents a significant value relative to its alternative crossing, the George Washington Bridge.There should also be transparency and public discussion on the toll increase now, as the bridge is opened for use. The best approach would be to effectuate a toll increase that covers all of the increased debt service costs, when the asset begins serving users with the completion of the bridge.
By Patrick Orecki and Jamison Dague
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County Executive Announces Shared Services Plan Complying with Governor Cuomo’s Directive.

WPCNR COUNTY CLARION-LEDGER. From the Westchester County Department of Communications. (Edited) October 13, 2017:

County Executive Robert P. Astorino Thursday outlined a shared services plan aimed at savings taxpayers money.

The plan, recently approved in a bi-partisan vote of 29-0 of county municipal leaders, could save taxpayers nearly $6 million over the next few years. Astorino today discussed the plan with the backdrop of the Fire Training Center in Valhalla, one of the county’s most important shared service initiatives, where Westchester’s fire departments conduct emergency training exercises.

In approving the shared services plan after several forums, three public hearings and hundreds of hours of input, leaders endorsed 12 ways – mostly information technology initiatives – to save money by eliminating redundancies and increasing efficiencies in government. Initiatives agreed to include having the county assist some localities with IT management, document scanning and storage and technology and software purchasing, among others, that can reduce costs on a local level. View the report here.

“It was completed with cooperation, collaboration and communication,” Astorino said.  “We know that sharing services is not a silver bullet. The way to reduce taxes is by growing the economy, controlling costs and eliminating state mandates. But by working together, we are able to find additional savings and provide services more cost-effectively.”

The Shared Service Forums were chaired by Astorino and included representatives from nearly all of Westchester County’s municipalities who discussed ways that local governments can continue to cut costs, notably through sharing services with the county, and lobbying the state to stop passing down its costs.

“The county’s Fire Training Center, run by our Department of Emergency Services, is one of the most vital and cost-effective shared services programs that we can provide to both career and volunteer firefighters – and the people they protect – throughout Westchester County,” said Astorino. “Can you imagine how expensive it would be if all 58 fire departments had to pay for 58 different emergency training centers? The cost would be prohibitive, the training less effective and lives would be put in jeopardy.”

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Westchester District Attorney Names White Plains Site of One of 4 New Drug “HUB” Courts

WPCNR POLICE GAZETTE. From the Office of the Westchester County District Attorney. October 13, 2017:

Westchester District Attorney Anthony A. Scarpino, Jr. announced Thursday that Mount Vernon, New Rochelle, White Plains and Yonkers are now designated as “Hub” Courts.

The “Hub” Court designation will make drug treatment courts accessible to individuals who suffer from alcohol and drug dependency and military veterans who have had run-ins with the law. Their cases can now be transferred to the “Hub” Courts.

 “During my campaign for District Attorney and now under my administration, it was important to keep the promise that these courts would be created to offer non-violent offenders and military veterans’ access to intensive court-supervised treatment and tailored services that might not be available through their own town and village courts. The goal of these drug treatment courts is to reduce incarceration and recidivism and hopefully give these individuals a path to a new life” said District Attorney Scarpino.

The Westchester County Drug Court Enhancement Project, under the direction of Ninth Judicial District Administrative Judge Alan Scheinkman, will coordinate the efforts of Westchester County drug court programs currently operating in Mount Vernon, New Rochelle, White Plains and Yonkers.

Supported by a federal grant from the Substance Abuse and Mental Health Services Administration (SAMHSA), the New York State Court System’s Ninth Judicial District, which encompasses Westchester County, is launching this new drug court initiative in the County to focus on the unique needs of two populations: individuals with opioid use disorder and justice-involved military veterans. The Westchester County Drug Court Enhancement Project aims to enhance the delivery of clinical and other services to these target populations, including the provision of medication-assisted treatment (MAT), where appropriate, to Westchester County Drug Treatment Court participants.

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No Business Like Show Business! The hard-working, over-the-top entertainers!

WPCNR STAGE DOOR. Theatrical Review by John F. Bailey. October 12, 2017:

From the moment, Devon Perry struts in as saucy 15 year old Annie Oakley as contestant in a marksmanship competition to secure Buffalo Bill’s Wild West Show a performance at the Wilson House on the vaudeville circuit, she wins you over, as she wins the rakishly rugged cowboy Marksman champion, Adam Kemmerer’s Frank Butler – with determination, innocence, and being-true-to herself ‘tude.


Adam Kemmerer and Devon Perry as Frank Butler and Annie Oakley. All Photos Courtesy Westchester Broadway Theatre by John Vecchiola

Perhaps one of the first career women in America  to earn a reputation in the late 19th century, Annie’s character in Ms. Devon’s talents, is one of the first true life heroines of American women.  She never compromised and still won the man she loved on her terms.

The Irving Berlin masterpiece of a musical, Annie Get Your Gun, (perhaps his most consistently entertaining spectacle with every song a show stopper) hit Broadway like gangbusters in 1946 and ran for 1,147 performances. Audiences went out humming and toe-tapping and above all feeling so good hearing songs that mirrored their own hearts. It’s stampeding through audiences at Westchester Broadway Theatre’s living Hall of Fame for Hit Shows.  What a score:  

Anything You Can Do I Can Do Better, Doin’ What Comes Naturally, There’s No Business Like Show Business, They Say It’s Wonderful, I Got Lost in His Arms, I Got the Sun in the Morning and the Moon at Night, The Girl That I Marry, and An Old-Fashioned Wedding. 

Ms. Perry plays Annie very believably from age 15 to grown-up, from tomboy to a lady who can handle herself, a man, as well as a gun, only coming to realize, You Can’t Get a Man With a Gun. 

She mugs and threats, and laments about, frowning, with pouting lip, and determined shake of her head at the end of Act I when she delivers this humorous Berlin classic. Ms. Perry sells all her songs solidly. You’re a man, you want to sweep her up and take her out on the town. You’re a woman you hope fervently that Ms. Perry’s feisty little heroine gets her man.

Kemmerer as Frank Butler, the Buffalo Wild West Show top draw for his marksmanship prowess  hitting clay pigeon after clay pigeon and dozens of trick shots, is stunned when Perry, the 15 year old Annie Oakley hits more targets than he does.

Annie despite being awestruck by the rugged Mr. Kemmerer, does her job refusing to be awed by the romantic feelings she’s feeling. Frank, though is enjoying his life as “I’m A Bad, Bad Man” with the pick of woman-admirers.  Kemmerer has swagger, the rough edge of the legendary cowboy image and is not  the typical pretty boy baritone, singer without swagger who have played this role in the past.

Annie agrees after beating Frank to join the show Buffalo Bill’s Wild West and go on tour.

Traveling east on the Overland Train, Frank and Annie, (Kemmerer and Perry) duet on They Say It’s Wonderful (one of my favorites in this show). You first hear Perry’s ability to phrase a song with heart, that you just cannot help listening to.

Ms. Perry  delivers the goods:  wistfulness with vibrato that is so right, a voice to haunt a moonlit night. Kemmerer, a confused Frank Butler transitions from no nonsense woman-wrangler to a man who has just realized something so wonderful has happened to him. It happens that way.


The Wild West Show is not doing well, and  the scheming manager of the show Kilty Reidy as Charlie Davenport (left above) (who gets loads of laughs with perfect timing), convinces Buffalo Bill (Gary Lynch), (right above) to merge his show with his competitor Pawnee Bill.

Frank is annoyed at Annie getting top billing in the show, and decides to jump to Pawnee Bill’s show where he is expected to wow the debutantes of New York. Sarah Cline who plays one of the debutante-investors does a very winning pitch to Frank, and Ms. Cline doubles in acid catty jealousy as Dolly Tate, the number one assistant to Frank in the show who resents Frank’s infatuation with Annie.

When he meets Annie again in New York at the elegant Hotel Brevort his old feelings for the “Little Sure Shot,” Sitting Bull’s Indian name for her, return.

But, true love does not go smoothly as their Annie and Frank’s egos continue to keep them apart. However Marshall Factora as Chief Sitting Bull (providing timely hysterical lines throughout) devises a way. What is the solution to bring this romance to Happily Ever After? Will Annie miss her shot at happiness?  Spoiler alert: Annie Oakley and Frank Butler were married for fifty years.

Other show-stoppers—The No Business Like Show Business Number, (so good you love it twice);  and of course the Anything You Can Do I Can Do Better where Perry delivers the signature Ethel Merman song with a style all Perry’s own with shining confidence and efervesence!  The romantic  leads Perry and Kemmerer have a lot of cute fun with the contrapuntal duet An Old Fashioned Wedding where each sings different lyrics to the same song. She has big plans he has small. Conflict erupts. Its’ charming as any wedding planner knows.

This show really moves. The scenes are quick. The intrigue ingeniously silly. The clashing egos of Annie and Frank classic “Battle of the Sexes.”

Richard Stafford has directed and choreographed this production flawlessly packing it with wonderful real West, turn-of-the-century costumes and cowboy outfits; dancehall girl outfits, crafted by Costume Designer Kara Branch. Making the dance scenes with action daringly put on collision courses the style of the show puts you into fading West period of the 1880s.

The WBT orchestra  directed by Shane Paris, with John Bowen, James Mack, Jordan Jancz, Brian Uhl. Steven Bleifuss  handles Irvin Berlin classics with gusto, flare, humor, notes that linger and never override the big singing of Kemmerer and Perry. Perhaps their most impeccable performance. The Irving Berlin music is so exciting in this show, it is so easy to overplay because it’s fun. They never overplayed.

Annie Get Your Gun plays for the next month through November 27 at WBT. Go to the website  for showtimes, and remember you get dinner with tickets. I loved the pork loin—real Wild West and tasty, just like Delmonico’s. Or dial the boxoffice at 914-592-2222.

There’s No Show Like  Annie Get Your Gun


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JOE WALSH DIRECTING NATALIE WEISS AS MOLLY and STEVEN DOUGLAS as SAM in the Musical Ghost that opens the season Friday Night at White Plains Performing Arts Center



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