![]() ![]() ![]() Sometimes she struggles to say what she needs to say. The character ricochets from topic to topic: her childhood, her marriages, her career, her self-image. If there is a through line to her narrative, it's a tricky one to discern. As she interacts with the audience and with her pianist (the always-reliable musical director Jon Weber), her moods swing rapidly from playful and flirtatious to melancholy to bitterly angry. ![]() Throughout the near-hour onstage, she is almost always somewhat bewildered, and sometimes she's downright panicked. She is like a nocturnal animal emerging from her den, stumbling into broad daylight. Mulder's Marilyn arrives onstage in a worried and vulnerable frame of mind. Mirroring the psyche of the Marilyn character that Mulder plays here, the show's score consists mostly of scattered musical shards. That's in part because the songs are often truncated in some way. In her portrayal of Marilyn Monroe, Mulder doesn't br eak character until the very end of the show, and there is seldom a pause taken to allow for audience applause following musical selections. "Marilyn in Fragments"-Marissa Mulder's new show, directed by Sondra Lee and performed at the Laurie Beechman Theatre-doesn't follow the format of an ordinary cabaret "tribute" show. ![]()
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