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While there are only five people in this show, there are several bit roles.

For example, Lulu White tells the story of her journey from New Orleans to California, the woman playing Ching plays the porter on the train.

In moments when the simple keyboard accompaniment falters, some of the singers are led astray while others are able to forge ahead undeterred.

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The show's concept is intriguing, but doesn't quite deliver.

The historic characters are written with wonderful research and detail-particularly Diane de Poitiers-but, some of the songs are awkwardly placed and do little to drive the story forward.

(Think Sondheim's "Assassins" but with famous mistresses.) As the show begins, the women chant "Jezebel, Siren, Vixen, Enchantress...", but each is ultimately designated a mistress-a word for which they emphatically state there is no male equivalent.

It's always special to see a show with a small cast in a small theatre.

The Mistress Cycle is a fun and gusty choice for Creative Cauldron's season.

It sheds light on a rarely discussed issue-particularly within the medium of the musical.

Run time is approximately 90 minutes sans intermission.

In this post I share a private (and thus far confidential) communication to Samoa’s CEO Tourism, Sonja Hunter, issued at the height of our conflict with STA.

Props to the shows creators, Blatt and Giering for producing a musical that will inspire audiences to discuss feminism and its portrayal on the stage.

However, it's unclear why they chose to mix factual and fictional characters when there are scads of famous mistresses throughout history.

I’ve recently responded to a comment on my blog that referred to the PM & Sonja’s relationship as a “romantic affair”.

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