Without missing a stroke he exhausts the crowd with Tchaikovsky’s Allego Con Fuoco and then after the second standing ovation of the night presents an encore performance.

The Big Fat Year End Comedy Show features a night of comedy and politics with a collection of stand-up comedy, skits, quizzes and many other surprises.

L. Peter Callender has such compelling physical presence that he could probably make folding the laundry mesmerizing. With a quality of motion comparable to Ben Vareen, he’s fascinating to watch even when he removes himself from the action to linger by the entrance.

No two-dimensional cutout, Grissom’s Edna, a one-man Greek chorus in drag, is the heart of the show.

This is the beauty of this play; what appears ordinary on the surface is anything but, and we find ourselves asking questions, contemplating the various actions the characters are taking which all appear right, yet seem to further deepen the pain, negative consequences.

On a mild spring evening yesterday, with tourists overflowing Union Square, I took in a performance at the Geary Theater. What I discovered was an inventive, humorous, and heartfelt production.

In many ways, this is the best of Rodgers and Hart, impeccably scripted and consciously paced for maximum effect.

Director and choreographer ­­Zack Thomas Wilde was smart enough not to let Rothrock’s cleanly defined moves dominate the production, allowing for other equally superb talents, such as Rudy Guerrero, to shine through.

Like how Memphis, Egypt sits on the river Nile, she points out, her Memphis is also on a river. Things move slowly. People and situations don’t really change – and when they do, it’s rarely for the better.

The whole thing happens so organically, so subtly, that it seems to originate somewhere beyond the choreographer’s active imagination.