REVIEWS

NEW YORK REVIEWS

“A SOARING SUCCESS! This is a lovable ol’ KINGFISH. Entertaining & provocative!” - THE NEW YORK POST

“GREAT FUN! John McConnell triumphs! A brilliant performance with juicy vigor and outrageous humor!”  -  NEWSHOUSE NEWSPAPERS

 “A ZESTY, ZANY ENTERTAINMENT! There should be a KINGFISH on stage for a good, long time!”  -  NEW YORK MAGAZINE

“JOHN MCCONNELL IS A DYNAMO HUEY LONG!” - DAILY NEWS

“FOR A LOOK TOWARDS THE PAST, YOU CAN’T BEAT THE KINGFISH!” - CNN

NEW ORLEANS REVIEWS

"Truth is: just because you may not believe in someone’s politics or thinking does not detract from their viability as an artist. And Mr. McConnell is an artist first.

 ...Go. Louisiana residents should be required to attend. Not only is the performance a grueling physical challenge – Long’s large air fist gestures used to send crowds into a frenzy – it is a delight to see Mr. McConnell virtually channeling the Governor."

- Live Green NOW - to continue reading go to:

http://livegreenorleans.com/2009/10/spuds-and-huey-stange-bedfellows/

'The Kingfish' brings Huey P. Long back to the Roosevelt Hotel

By Theodore P. Mahne- Times Picayune

September 18, 2009, 5:00AM

He was a youthful, charismatic populist, recently elected to the U.S. Senate -- and eyeing the White House -- with left-of-center ideas that were appealing to a country in the midst of a major economic crisis.

Sound familiar?

From the sound of applause greeting several of the speeches in "The Kingfish," one suspects that Huey P. Long's politics might be as well-received (and just as controversial) today, as they were in the 1920s and '30s. Through John McConnell's epic and colorful portrayal of the Kingfish, it's easy to imagine Long charming a country in search of champion.

Reprising his hit Off-Broadway one-man show this month at the Roosevelt Hotel, McConnell brings Long to life capturing his persuasive charisma, his folksy appeal and his political acumen. His larger-than-life stage presence is fitting for the role of the man who forever stamped Louisiana politics with its vibrant reputation.

McConnell brings his solid comedic skills to the part, giving Long a Falstaffian quality that bewitches the audience. However, the Machiavelli on the Mississippi is never far off. While the show is not intended to serve as a direct history lesson or deep assessment of Long's life and career, neither is it a hagiography. The plays writers, Larry L. King and Ben Z. Grant, are clearly enchanted by their subject, but are able to point out his flaws. That joviality can turn on a dime when Long seethes and then erupts in anger at the political machinations that sought his downfall.

Director Perry Martin brings out the natural storyteller in McConnell, who is at his best telling Long's tales through a series of anecdotes. The playwrights rely partially on Long's political speeches but take some license in creating the monologues. The spirit of Long is evident and his voice comes through McConnell's characterization strongly. His animated gesturing and stump speechifying may seem arch to modern audiences but reflects the powerful presence that Long created before crowds on the campaign trail.

The play covers a broad spectrum of Long's life from his days as a traveling salesman to his entry into politics via the state railroad commission through his meteoric rise and tragic end.

Was Long a savior or a demagogue? Was he Robin Hood or a robbing hood? One play likely cannot answer the question fully or fairly. Indeed, the show's only flaw is that it leaves one wanting more. While Long's career was relatively brief - elected governor of the state by the age of 35, U.S. senator two years later, and assassinated at 42 - the complexity of his life and personality may be simply too large to be captured in a scant two hours.

Nevertheless, McConnell draws out the essence of the man and the myth in all his white-suited, suspender-snapping glory. Even those who abhorred Long and his Share the Wealth political philosophy would enjoy the pleasure of his company through McConnell's portrayal.

The simple sets by Ron Goldberg recreate Long's office in the State Capitol, a generic back porch and the campaign stumps. Dan Zimmer's evocative lighting creates an appropriate aura around Long.

Adding to the pleasure of "The Kingfish" is its location - the show is being staged in the Orpheum Ballroom of the Roosevelt, newly converted into a comfortable theatrical space. There are few places more fitting. Long's history with the hotel is fabled and the sense of his history there remains palpable.

Theodore P. Mahne is a contributing writer to The Times-Picayune.
THE KINGFISH
What: John McConnell reprises his Off-Broadway hit performance as Huey P. Long in a one-man show by Larry L. King and Ben Z. Grant. Perry Martin directs.
Where: Orpheum Ballroom, second floor of the Roosevelt Hotel, 123 Baronne St.
When: Fridays and Saturdays at 8 p.m., and Sundays at 3 p.m., through Oct. 11.
Tickets: $30, student and group discounts available. 504.648.5380.

GAMBIT WEEKLY THEATRE REVIEW

SEPTEMBER 14, 2009 

The Kingfish

To mark the 116th anniversary of Huey P. Long's birth, director Perry Martin and John "Spud" McConnell have revived their one-man show The Kingfish at the Roosevelt Hotel, where Long was a frequent guest. The original play premiered off Broadway in 1991, received good reviews and ran for 10 weeks.

  Larry L. King (author of The Best Little Whorehouse in Texas) co-wrote TheKingfish with Ben Z. Grant. It combines quotes from Long and imagined monologues. McConnell dons a linen suit and straw boater and conjures Long's wicked, down-home sense of humor, concern for the little man and skill with the cynical power plays of politics. All of it makes for great theater.

  In one tale, Long, hoping to widen his appeal, waxes sentimental about how his Catholic grandparents would hitch up the mule every Sunday and take him to Catholic church services. Then his Protestant grandparents would hitch up the mule and take him to a Baptist church. When his interlocutor says he didn't know Long had Catholic grandparents, Long scowls in disbelief at the man's credulity: "We didn't even have a mule."

   Long exaggerated his poor childhood for populist appeal, but he wasn't born with a silver spoon in his mouth. He left high school to peddle cooking oil and patent medicines door-to-door. Later he put those years of itinerant hucksterism to good use, as he recounted in a stump speech about "High Poppa Low Rum" and "Low Poppa High Rum." The fanciful patent medicines are made from tree bark — one from the top of the tree, the other from the bottom. They're guaranteed to cure what ails you, and they're like the political parties, he says.

   "The only difference I've found between Republican leadership and Democratic leadership is that one wants to skin you from the neck down and the other wants to skin you from the ankles up," thunders the Kingfish.

   McConnell is mesmerizing as the huffing-and-puffing good ole boy. He brings the right mixture of whimsy and menace to the Kingfish. Ron Goldberg's set is simple but effective. Jim Fields' archival photo projections and Dan Zimmer's lighting contribute to the visual impact. This is a don't-miss show. — Dalt Wonk

The Kingfish

8 p.m. Fri.-Sat.; 3 p.m. For a Limited Run.

Now at The Intercontinental Hotel, 444 St. Charles Ave., (888) 946-4839; www.kingfishonstage.com

Tickets $30

ABOUT THE SHOW

The populous themes of The Kingfish written by Co-author of The Best Little Whorehouse in Texas, Larry L. King and Court of Appeals Judge / Author Ben Z. Grant seem prevalent now more than ever. The Authors show the many sides of Huey Long and reflect what they believe to be his attitudes. They have invented dialogue when illustrating historical events. They have brought Long back from the grave to comment on current or recent politicians and events. They have permitted him to re-live and discuss his own assassination. The Kingfish melds fact and fancy.

THE KINGFISH HISTORY

In August 1976, Perry Martin met his dorm mate at Nicholls State University and muttered the sentence that 11 years later, would launch the two college freshmen on a theatrical adventure beyond their widest imaginations. “The first thing I said to Spud (McConnell) was – ‘you look like either Burt Lahr or Huey Long.” Martin continued, “To think, if things would have gone a little different we might have done a play about the cowardly lion.” Eleven years later Martin returned to Louisiana after working as a talent agent in New York and McConnell was touring the nation as a stand up comedian. Martin had only directed 2 small community theatre productions and was hurting for cash. McConnell was tired of the road and was hurting for cash. “I heard about the Republican National Convention coming to New Orleans in 1988 and thought about the potential promotional attention that would be available through this event.” Martin recalled. Martin and McConnell, having stayed in close contact through the years, decided to finally pursue the project they first spoke about back in their college dorm room years before. A one man play about Huey P. Long, starring McConnell & directed by Martin. Their only intent was to beef up public attention on their fledgling careers and perhaps put a little cash in their coffers. Martin provided a hundred dollars here and there from his government salary as Thibodaux Civic Center Director and McConnell designed and built the set as the small amounts of money came in. After a national script search, Martin became aware of a script about Huey Long co-written by Larry L. King, co-author of The Best Little Whorehouse in Texas.“ Larry get’s this call from an unknown director from the bayous of South Louisiana.” Martin laughed as he told the story, “You have to understand, coming off of the success of Whorehouse, Larry was a big deal. I was broke, inexperienced and a nobody with a Cajun accent.” To this day, Martin can't confirm whether acquiring The Kingfish performance rights was an act of amusement by King or maybe he just took pity on the new producer. They had the rights, now what?

In their spare time they built and rehearsed and researched, including spending extensive time in Long's hometown of Winnfield. They tried to secure a New Orleans venue. Every theatre in the city turned them down informing them that a one man play regardless of the subject was a waste of time and money. Martin and McConnell weren’t swayed. “It’s a great theatre story.” McConnell related, “Perry begged and borrowed as much money he could get his hands on. He raised about 25 % of what we needed and then he rented the Orpheum Theatre for 3 weeks. If I remember correctly, he locked himself in his room, crossed his fingers and curled up in a fetal position for a couple of days.” After a weekend tryout running back in the Winnfield high school auditorium, The Kingfish opened in New Orleans at the Orpheum Theatre in August 1988 during the Republican National Convention. On opening night, after Martin had been working on stage throughout the day, he was surprised to see tux clad ushers in the Orpheum's lobby. The elderly front of house manager noticed the astonished Producer who had just played a high school auditorium. He walked up to Martin, put his hand on his shoulder and bragged "You're in the Orpheum now. son." Martin, stunned as he watched the growing crowd of patrons gather could only reply, "I guess so." Little did he know the speeding train that he & McConnell were about to board.

Co-author Ben Grant traveled to Winnfield from Marshal Texas to see the first production of the script.

Martin remembered the words of former New York client Mel Blanc (the voice of Buggs Bunny). “Luck is the residue of design”  he often said to the young Director. Martin hoped those words would ring true by risking everything at the Orpheum Theatre. Luck was with them. They were featured on CBS Sunday Morning with Charles Kuralt, ABC Nightly News & CNN. The Kingfish was also covered by every major newspaper in the United States. Due to the massive amount of publicity the show received and what Martin calls “the grace of the theatre muses”, The Kingfish left the Orpheum Theatre and launched a 4 ½ year tour across the South. In March 1991 The Kingfish opened in Off Broadway’s prestigious John Houseman Theatre.

“That was a long time ago” Martin recalls, “Since then I’ve been lucky to have enjoyed a wonderful career. We’ve had great success with hit theatrical  productions like Earl Long in Purgatory, Okra and A Confederacy Of Dunces”.  Martin and Kingfish co-producer Karissa Kary have recently opened the BAYOU Playhouse, a theatre with a mission to celebrate & showcase Louisiana's most precious natural resources; its amazing people, its beautiful art, heritage and culture and its colorful history. www.bayouplayhouse.com.

Since John McConnell’s triumphant 1991 New York premiere performance, Spud’s (McConnell) career has taken him to Hollywood for 3 season’s on the ABC hit television show, Roseanne. He has over 100 stage, comedy clubs, film and television appearances to his credit. McConnell is also a “living landmark”. He is honored to have a life-sized bronzed statue on historic Canal Street in New Orleans commemorating his portrayal of Ignatius J. Riley in the staged adaptation of the Pulitzer Prize winning novel, A Confederacy of Dunces. He can be heard weekdays on The Spud Show on WWL 860 am.

Martin concludes, “John and I have come a long way from those 2 wide eyed kids from the back wood swamps of South Louisiana. We're both very proud of our career accomplishments since we presented The Kingfish in New York those many years ago. It’s very exciting to bring those 20 years of theatrical experience to the re-mount of the play that put us on the map & started our careers."

EXCERPTS FROM THE PLAY

HUEY ON POVERTY

“Poverty’s no more romantic than war, and either one can kill you.  A rich man’s baby is gonna live where a poor man’s baby is likely to die.  Now, health records prove that all over the world and I didn’t tamper with figures.  Coming into this world poor is like being dealt deuces and treys and then being told you gotta bet ‘em against aces and kings."

HUEY ON POLITICAL CONTRIBUTIONS

“Those of you who give now will get the best cut of the pie.  Those of you who wait til right before the election to give will get what’s left over.  Those of you who wait til after the election will get good gov’ment.”

HUEY ON THE U.S. CONGRESS

“Congress ain’t nothing but a disorganized mob.  Now, you oughta be able to flatter a third of ‘em into doing what you want.  You can scare or bribe another into doing it and the final third won’t make any difference!"

HUEY ON HIS OVERALL RECORD

“Why the Kingfish did more with what he had to work with than anybody since…maybe Jesus stretched out them loaves and fishes.  And I’m being as modest about this as circumstances permit."

HUEY ON TAXES

"My only regret about taxes is that I didn’t live to collect more of ‘em.  You see, a sensible tax structure is democracy’s best tool. It’s the one great leveler that can prevent the rise of a privileged class to lord it over everybody else and exploit ‘em.  At least that’s the theory, anyhow.  But I wish Congress and our presidents would allow that to be tested."