Let me state right upfront that before seeing the current production of Porgy and Bess I had never seen any version of the show/opera nor the 1959 movie. I have read about the controversy swirling around the reconstruction of this 1935 Gershwin classic as well as the infamous Sondheim letter, where the composer chastised the creative team for his interpretation of ill-advised and unnecessary changes.
I have taken all the pre-Broadway reviews and chatter (this Porgy and Bess played Boston in earl September 2011) as well as my lack of knowledge of the musical and pushed it all aside. I wanted to treat this theatrical experience as if I was seeing a world premiere and not a reworking of a beloved, well-known show.
Porgy and Bess explores the life of the African-American inhabitants along Catfish Row, a rundown section of waterfront. We are slowly introduced to the central characters that live and work in this rundown section of Charleston, South Carolina. The sudden murder of one of the residents by the rough hewn denizen, Crown, sets off a chain of events that then propels the dramatic plot line of the musical.
While Crown flees, his strung out and trampy woman, Bess, is given shelter by the kind-hearted, crippled, Porgy. Within weeks, Bess, out of the loathsome clutches of Crown, has become clear-headed and accepted by the folks of Catfish Row. A mutual affection between she and Porgy develops until the reemergence of her brutish companion and other temptations entice Bess to question her purpose and worth.
Audra McDonald delivers another powerful stage performance as the spirited, yet lamentable, Bess. Her character runs the gamut of emotions and feelings. We empathize with her, root for her and, in the end, pity her. Equally effective is Norm Lewis as the proud, heart-rending, Porgy. Both McDonald and Lewis, with strong, muscular voices, provide the focus of the production, but are backed up by a superb supporting cast. They include David Alan Grier as the conniving scoundrel, Sporting Life; Phillip Boykin as the monstrous, fearsome, Crown; and NaTasha Yvette Williams as the forceful, but caring mother hen of the enclave.
The score, with music by George Gershwin and lyrics by Ira Gershwin and DuBose Heyward, contains many well-known classics such as “Summertime,” “I got Plenty of Nothing,” ”It Ain’t Necessarily So,” and “There’s a Boat That’s Leaving Soon.” One of the real strengths of the score is the almost religious like atmosphere it often produces, with deep choral arrangements from the large cast. The audience becomes enveloped in the songs and musical compositions, whether they radiate sorrow, contentment, or exuberance.
The libretto by Ira Gershwin and DuBose Heyward, with adapting and editing by Suzan-Lori Parks and Diedre Murray, portrays the Catfish Row residents’ hard-life, shards of gaiety, and cataclysmic events with honesty and gritty realism.
The scenic design by Riccardo Hernandez is minimal, but for this production that works best as not to distract from the actors and the flow of the show. Christopher Akerlind’s lighting heighten the ominous moments of the musical, especially during the hurricane sequence.
Director Diane Paulus skillfully weaves the action together with the large cast, slowly building to the heartbreaking, yet hopeful, conclusion. She is just as adept in the more poignant scenes as well as those that generate a threatening tension in the air. Choreographer Ronald Brown, adds joyful and vibrant dance numbers that seamlessly weave themselves into the overall production.
Porgy and Bess, solid dramatic entertainment, at the Richard Rodgers Theatre.
Sunday, February 5, 2012
Friday, January 6, 2012
LYSISTRATA JONES--See It Before January 8th
I drove to New York City last night to catch one of the final performances of Lysistrata Jones, the new musical, which is prematurely closing after the Sunday, January 8th at 3:00 p.m. performance. I am so glad I did! Lysistrata Jones is funny, tuneful, and one of the best original musicals I have seen these past few years.
Based on the ancient Greek comedy, Lysistrata, by Aristophanes (where women of Greece decide to withhold sex until the men end their warring ways), this modern twist has the cheerleaders at Athens University deciding not to give it up until the men’s basketball team wins a game--a losing streak that has spanned 30 years.
The book by Douglas Carter Bean is smart, witty and hilarious. You could imagine he chuckled his way through the writing process. Performed by a young, spunky cast this energetic show rarely takes its foot off the accelerator.
Patti Murin, as the determined titled character, Lysistrata Jones, has a powerhouse voice and verve to match. Her’s is a star making performance. Other cast members worth noting are Liz Mikel as the full-bodied narrator/brothel madam, Hetaira; Lindsay Nicole Chambers, as the feminist work-study undergraduate, Robin; Josh Segarra, as the macho, yet poetic, captain of the basketball team, Mick; and Jason Tam, as the socially inept, Xander.
The score by Lewis Flinn is fresh, amusing, upbeat, and performed with exuberance by the spirited actors.
Director/Choreographe Dan Knechtges has whipped up a kinetic whirlwind of motion on stage. His production numbers are clever and thoroughly entertaining. The overall thrust of the musical can come across as slightly sophomoric and scattered, but that is more the direction of the show (this is a positive). It reminded me a lot of the original 1972 production of Grease—a rollicking good time for all—the actors onstage and the audience in their seats.
Lysistrata Jones, closing Sunday, January 8th at 3:00 p.m. If you can, head over to the Walter Kerr Theater on W. 48th Street for one of its last performances. You won’t be disappointed.
[Note: If available, there are $25.00 Rear Mezzanine seats at the box office. When I attended they closed that area and moved me down to the back of the Mezzanine. You can also buy discount tickets at the TKTS Booth or print out the coupon at Broadwaybox.com and buy tickets directly at the box office.]
Based on the ancient Greek comedy, Lysistrata, by Aristophanes (where women of Greece decide to withhold sex until the men end their warring ways), this modern twist has the cheerleaders at Athens University deciding not to give it up until the men’s basketball team wins a game--a losing streak that has spanned 30 years.
The book by Douglas Carter Bean is smart, witty and hilarious. You could imagine he chuckled his way through the writing process. Performed by a young, spunky cast this energetic show rarely takes its foot off the accelerator.
Patti Murin, as the determined titled character, Lysistrata Jones, has a powerhouse voice and verve to match. Her’s is a star making performance. Other cast members worth noting are Liz Mikel as the full-bodied narrator/brothel madam, Hetaira; Lindsay Nicole Chambers, as the feminist work-study undergraduate, Robin; Josh Segarra, as the macho, yet poetic, captain of the basketball team, Mick; and Jason Tam, as the socially inept, Xander.
The score by Lewis Flinn is fresh, amusing, upbeat, and performed with exuberance by the spirited actors.
Director/Choreographe Dan Knechtges has whipped up a kinetic whirlwind of motion on stage. His production numbers are clever and thoroughly entertaining. The overall thrust of the musical can come across as slightly sophomoric and scattered, but that is more the direction of the show (this is a positive). It reminded me a lot of the original 1972 production of Grease—a rollicking good time for all—the actors onstage and the audience in their seats.
Lysistrata Jones, closing Sunday, January 8th at 3:00 p.m. If you can, head over to the Walter Kerr Theater on W. 48th Street for one of its last performances. You won’t be disappointed.
[Note: If available, there are $25.00 Rear Mezzanine seats at the box office. When I attended they closed that area and moved me down to the back of the Mezzanine. You can also buy discount tickets at the TKTS Booth or print out the coupon at Broadwaybox.com and buy tickets directly at the box office.]
Saturday, December 24, 2011
Review of "On a Clear Day You Can See Forever"
I was looking forward to the revival of On a Clear Day You Can See Forever, the 1965 musical by Alan Jay Lerner and Burton Lane, that stars Harry Connick, Jr. There were a number of reasons. First, the show is rarely revived so a chance to see a production with the full Broadway treatment was too good to pass up. Second, there are a number of tuneful songs in the score, something rare in current Broadway shows. Third, the chance to see Mr. Connick who created such a splash in his Broadway debut a few years back in The Pajama Game.
Unfortunately, the revival didn’t live up to my advance expectations and, indeed, falls flat. I’d go out on a limb and say the soon-to-close Bonnie and Clyde has more to offer theater-goers then this sluggish production. So what’s the problem? There are two primary issues I have with the revival. First, is the storyline. The original 1965 show centered on a psychiatrist, still brooding over his dead wife, who begins sessions with a woman who just happens to host the reincarnated soul of a 1940’s jazz singer. The doctor falls for the inner being while treating the real-life self. As you can guess, complications ensue. In the current revival at the St. James Theater, Director Michael Mayer has reconceived the plot, along with bookwriter Peter Parnell, so the female client, instead of playing dual roles, has been split into a gay flower shop salesman, David—he’s the one in therapy--and an actress playing the beguiling other self. More complications ensue, both in David’s personal life and clinical sessions. As you can imagine, the narrative gets somewhat convoluted. Most of the characters are never really compelling and the main thrust of the plot is rather uninspiring.
This isn’t to say the actors in the production aren’t endearing or miscast, except one, which brings me to problem number two—Harry Connick, Jr. Whether it is the role, as written; the direction by Michael Mayer; Connick’s overly despondent nature or a combination of the three the star seems to just hunker across the stage, crooning some ballads, and showing very little emotional range. Yes, his character is still grief stricken over his wife’s death three years earlier, but the continual moping and self-reflection becomes tiresome.
The other cast members are more in sync with their musical comedy roles. David Turner is an effervescent sparkplug as the anxious, commitment abhorrent florist, David Gamble; Drew Gehling, as David’s lawyerly lover, Warren Smith, has a natty stage presence and dynamic voice; Sarah Stiles, David’s best friend, Muriel, provides a needed comic kick throughout the show; and Jessie Mueller, as the reincarnated singer, Melinda Wells, is radiant, high-spirited and possesses a powerhouse voice.
The score by Alan Jay Lerner and Burton Lane contain some real Broadway musical gems including “Melinda,” “Come Back to Me,” and “On a Clear Day You Can See Forever.” Yet the notable songs are backloaded towards the end of the show leaving a finely tuned score with only a few magical nuggets.
Christine Jones’ misguided set designs, looking to evoke the swinging times of the early 1970’s, are a jumble of colorful geometric shapes and forms, yet their inclusion is more artsiness over effectiveness.
Director Mayer and choreographer Joann Hunter look to instill life into the musical—the production numbers, few and far between, are energetic if somewhat utilitarian—but with a cumbersome plot and a somewhat unappealing lead character the revival of On a Clear Day needs to undergo its own reincarnation. Maybe in its next life the musical will become the enchanting fable it yearns to be.
Unfortunately, the revival didn’t live up to my advance expectations and, indeed, falls flat. I’d go out on a limb and say the soon-to-close Bonnie and Clyde has more to offer theater-goers then this sluggish production. So what’s the problem? There are two primary issues I have with the revival. First, is the storyline. The original 1965 show centered on a psychiatrist, still brooding over his dead wife, who begins sessions with a woman who just happens to host the reincarnated soul of a 1940’s jazz singer. The doctor falls for the inner being while treating the real-life self. As you can guess, complications ensue. In the current revival at the St. James Theater, Director Michael Mayer has reconceived the plot, along with bookwriter Peter Parnell, so the female client, instead of playing dual roles, has been split into a gay flower shop salesman, David—he’s the one in therapy--and an actress playing the beguiling other self. More complications ensue, both in David’s personal life and clinical sessions. As you can imagine, the narrative gets somewhat convoluted. Most of the characters are never really compelling and the main thrust of the plot is rather uninspiring.
This isn’t to say the actors in the production aren’t endearing or miscast, except one, which brings me to problem number two—Harry Connick, Jr. Whether it is the role, as written; the direction by Michael Mayer; Connick’s overly despondent nature or a combination of the three the star seems to just hunker across the stage, crooning some ballads, and showing very little emotional range. Yes, his character is still grief stricken over his wife’s death three years earlier, but the continual moping and self-reflection becomes tiresome.
The other cast members are more in sync with their musical comedy roles. David Turner is an effervescent sparkplug as the anxious, commitment abhorrent florist, David Gamble; Drew Gehling, as David’s lawyerly lover, Warren Smith, has a natty stage presence and dynamic voice; Sarah Stiles, David’s best friend, Muriel, provides a needed comic kick throughout the show; and Jessie Mueller, as the reincarnated singer, Melinda Wells, is radiant, high-spirited and possesses a powerhouse voice.
The score by Alan Jay Lerner and Burton Lane contain some real Broadway musical gems including “Melinda,” “Come Back to Me,” and “On a Clear Day You Can See Forever.” Yet the notable songs are backloaded towards the end of the show leaving a finely tuned score with only a few magical nuggets.
Christine Jones’ misguided set designs, looking to evoke the swinging times of the early 1970’s, are a jumble of colorful geometric shapes and forms, yet their inclusion is more artsiness over effectiveness.
Director Mayer and choreographer Joann Hunter look to instill life into the musical—the production numbers, few and far between, are energetic if somewhat utilitarian—but with a cumbersome plot and a somewhat unappealing lead character the revival of On a Clear Day needs to undergo its own reincarnation. Maybe in its next life the musical will become the enchanting fable it yearns to be.
Sunday, November 13, 2011
Review of "Chinglish"
Chinglish, the concatenation of Chinese and English, is the recently opened Broadway comedy, which deals with cultural and language misinterpretation and misinformation. Fitfully funny and sometimes somber the play, by Tony Award winning playwright, David Henry Hwang (he wrote the brilliant M. Butterfly from 1988) opens with Midwestern businessman, Daniel Cavanaugh, giving a lecture—to both an unseen Ohio-based Chamber of Commerce group as well as the theater audience—on his exploits in China. The thrust of his talk revolves around the mistranslation of everyday Chinese worded signs and numerous demonstrations are projected above the stage of the Longacre Theater. Soon after, the audience is thrust back in time as we witness the beginnings of Cavanaugh’s initial trip to China with the goal of securing a contract for his family-owned sign making business. To assist in his efforts he hires a British expatriate and self-styled business consultant, Peter Timms, to help him navigate the ways of this foreign land. Naturally, nothing goes right with their dealings with bureaucrats as Chinese traditions, practices and language conspire against the hapless Cavanaugh…that is until his relationship with Deputy Minister Xi Yan, begin to blossom in multiple ways.
Playwright David Henry Hwang has crafted a comedy that, in essence, is a tale of “mis” as in misdirection, misinformation, and mistranslation. What is perceived and believed to be the truth is not always to be accepted or to be trusted. His use of supertitles, projected over the stage—much of the dialogue is in Chinese—can be distracting and a possible annoyance to theatergoers that would rather hear spoken words as opposed to reading, too. But the projected text, in a way, gives the audience a taste of what the forlorn Cavanaugh is experiencing with his frustration and disgruntlement.
The entire cast of Chinglish is marvelous. Standouts include Gary Wilmes, as the unsophisticated, fish out-of-water, Daniel Cavanaugh, who is perfect in the part. Cavanaugh desperately wants, even needs, his situation to pan out and Wilmes’ quirks and hopeless looks only magnify his character’s anguish and discomfort. At first, Jennifer Lim as the stoic, no-nonsense, Xi Yan, seems one-dimensional and more of a comic foil, but very soon her multi-faceted persona and, later, her hidden agenda reveal a more complex and knowing individual. Stephen Pucci, as the somewhat mysterious and ill-tempered consultant, Peter Timms, is both suave and smarmy. And his Mandarin Chinese is quite good, too.
The set by David Korins deserves specific praise. A revolving set of interchangeable pieces, spin together to form a dizzying array of locales and spaces. The changeovers are quick, effortless, and quite an achievement. Kudos.
Director Leigh Silverman provides sleek guidance, allowing each scene to evolve and develop within Hwang’s words. He skillfully marshals the action through the numerous set changes, deftly steering the performances through the twists and turns of the plot.
Chinglish, now on Broadway at the Longacre Theater.
Playwright David Henry Hwang has crafted a comedy that, in essence, is a tale of “mis” as in misdirection, misinformation, and mistranslation. What is perceived and believed to be the truth is not always to be accepted or to be trusted. His use of supertitles, projected over the stage—much of the dialogue is in Chinese—can be distracting and a possible annoyance to theatergoers that would rather hear spoken words as opposed to reading, too. But the projected text, in a way, gives the audience a taste of what the forlorn Cavanaugh is experiencing with his frustration and disgruntlement.
The entire cast of Chinglish is marvelous. Standouts include Gary Wilmes, as the unsophisticated, fish out-of-water, Daniel Cavanaugh, who is perfect in the part. Cavanaugh desperately wants, even needs, his situation to pan out and Wilmes’ quirks and hopeless looks only magnify his character’s anguish and discomfort. At first, Jennifer Lim as the stoic, no-nonsense, Xi Yan, seems one-dimensional and more of a comic foil, but very soon her multi-faceted persona and, later, her hidden agenda reveal a more complex and knowing individual. Stephen Pucci, as the somewhat mysterious and ill-tempered consultant, Peter Timms, is both suave and smarmy. And his Mandarin Chinese is quite good, too.
The set by David Korins deserves specific praise. A revolving set of interchangeable pieces, spin together to form a dizzying array of locales and spaces. The changeovers are quick, effortless, and quite an achievement. Kudos.
Director Leigh Silverman provides sleek guidance, allowing each scene to evolve and develop within Hwang’s words. He skillfully marshals the action through the numerous set changes, deftly steering the performances through the twists and turns of the plot.
Chinglish, now on Broadway at the Longacre Theater.
Saturday, October 29, 2011
Review of "City of Angels" - Goodspeed Opera House
City of Angels, the last show of the Goodspeed Opera House’s season, is probably one of the most acclaimed, award-laden musicals that people have never heard of. The show ran for almost 900 performances on Broadway and won a slew of the major 1990 Tony Awards including Best Musical, Best Score, Best Book, and Best Actor, but this infrequently revived hit rarely registers with all but the most ardent of Broadway fans. The production, a more contemporary offering then what is usually in the Goodspeed line-up, is a lively, sexy, well-crafted musical comedy with just one annoying feature (more on that later).
City of Angels is a show within a show. The plot centers around author, Stine, played with winning nimbleness and intelligence by D.B. Bonds, who is trying to craft his murder mystery into a screenplay. While Stine writes his characters come to life as a film noir feature, from the 1940’s, giving us two simultaneous plot lines. During this process Stine also has to deal with the interfering, self-important producer-director, Buddy Fidler, played with narcissistic splendor by Jay Russell; marital woes; infidelity; and his own moral values.
Stine’s alter ego, Stone, a hard-boiled private detective right out of central casting, is played to perfection by Burke Moses. He’s headstrong, obstinate, and the embodiment of every Dashiell Hammett or Mickey Spillane protagonist. Nancy Anderson, in the dual role of Oolie (Stone’s girl Friday from the movie storyline) and Donna (Buddy Fidler’s flirtatious assistant) is marvelous shifting back and forth between the sensual (Donna) and repressed (Oolie). While these three cast members standout, as usual at Goodspeed, all the actors in the show are first-rate.
The story goes back and forth between the real and the not-so-real culminating in a satisfying conclusion for both.
There are a number of reasons that elevate City of Angels to such a gratifying level. First is Larry Gelbart’s well-conceived, well-written book for the show. It’s smart, funny, and sophisticated without being pretentious or overly complicated. The score by Cy Coleman, according to Josh Ritter, the Education and Library Director for Goodspeed, is the first hit musical to feature a full-blown jazz score. While I’m not a jazz aficionado I found the music by Coleman and the lyrics by David Zippel to contain breezy, well-crafted songs that play well in the parallel settings.
Director Darko Tresnjak keeps the show fast-paced which is quite an accomplishment considering there are 40 scenes throughout the production, some short, others more extended. Either way he guides the musical with a steady, creative hand.
One of the hallmarks of a Goodspeed show is the scenic design for such a small performance space and David Gordon doesn’t disappoint. He uses the raising and lowering of multi-length venetian blinds to reveal the action on stage. The simple, unadorned sets allow for quick scene changes as well as providing the atmospheric motif for the dual setting.
My one annoyance with the production is its overuse of projections beamed on-stage. Goodspeed purchased a system this year and, while its use in the Opera House’s first musical of the year, My One and Only, was appropriate here Shawn Boyle’s projection design have gone overboard. For example, do we really need feet with toe tags projected on the side of the stage during the morgue scene? As I mentioned earlier, the Goodspeed Opera House’s hallmark is its clean, streamlined sense of scenic style. When projections are overly emphasized they become the focus. Do we really want patrons exiting the theater talking about this aspect of the show? If projections are part of the future, I hope their use is more moderated.
Nonetheless, City of Angels is clever, witty and flirtatious fun. The Goodspeed Opera House should be applauded for reviving such a rarely seen work. Now through November 27th.
City of Angels is a show within a show. The plot centers around author, Stine, played with winning nimbleness and intelligence by D.B. Bonds, who is trying to craft his murder mystery into a screenplay. While Stine writes his characters come to life as a film noir feature, from the 1940’s, giving us two simultaneous plot lines. During this process Stine also has to deal with the interfering, self-important producer-director, Buddy Fidler, played with narcissistic splendor by Jay Russell; marital woes; infidelity; and his own moral values.
Stine’s alter ego, Stone, a hard-boiled private detective right out of central casting, is played to perfection by Burke Moses. He’s headstrong, obstinate, and the embodiment of every Dashiell Hammett or Mickey Spillane protagonist. Nancy Anderson, in the dual role of Oolie (Stone’s girl Friday from the movie storyline) and Donna (Buddy Fidler’s flirtatious assistant) is marvelous shifting back and forth between the sensual (Donna) and repressed (Oolie). While these three cast members standout, as usual at Goodspeed, all the actors in the show are first-rate.
The story goes back and forth between the real and the not-so-real culminating in a satisfying conclusion for both.
There are a number of reasons that elevate City of Angels to such a gratifying level. First is Larry Gelbart’s well-conceived, well-written book for the show. It’s smart, funny, and sophisticated without being pretentious or overly complicated. The score by Cy Coleman, according to Josh Ritter, the Education and Library Director for Goodspeed, is the first hit musical to feature a full-blown jazz score. While I’m not a jazz aficionado I found the music by Coleman and the lyrics by David Zippel to contain breezy, well-crafted songs that play well in the parallel settings.
Director Darko Tresnjak keeps the show fast-paced which is quite an accomplishment considering there are 40 scenes throughout the production, some short, others more extended. Either way he guides the musical with a steady, creative hand.
My one annoyance with the production is its overuse of projections beamed on-stage. Goodspeed purchased a system this year and, while its use in the Opera House’s first musical of the year, My One and Only, was appropriate here Shawn Boyle’s projection design have gone overboard. For example, do we really need feet with toe tags projected on the side of the stage during the morgue scene? As I mentioned earlier, the Goodspeed Opera House’s hallmark is its clean, streamlined sense of scenic style. When projections are overly emphasized they become the focus. Do we really want patrons exiting the theater talking about this aspect of the show? If projections are part of the future, I hope their use is more moderated.
Nonetheless, City of Angels is clever, witty and flirtatious fun. The Goodspeed Opera House should be applauded for reviving such a rarely seen work. Now through November 27th.
Sunday, October 23, 2011
Review of "Jersey Boys" - Bushnell Auditorium
The Broadway smash and worldwide touring sensation, Jersey Boys, makes a triumphant return to the Bushnell Auditorium. The musical, for those not familiar with the production, traces the formation and rise to the top of the charts of the Rock and Roll Hall of Fame group, The Four Seasons (only after three of the four original members left did the group become known as Frankie Valli and the Four Seasons).
During its first visit to Hartford, two years ago, I felt the show lacked cohesion as the actors were more caricatures—over emphasizing their rough and tough Jersey roots (and accents)--then portraying real characters. This time around the musical is like a tight, well-rehearsed horn section—full of punch and self-assurance.
The first part of the show builds slowly as characters are introduced, plot lines set-up. However, it’s not until just over halfway through Act I does Jersey Boys begin to hit its stride as the group rockets up the charts with back-to-back-to-back number one hits. The songs encompass the best of the Four Seasons songbook including “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” “Can’t Take My Eyes Off You,” “Rag Doll,” and many more.
The four stars—Preston Truman Boyd as singer/songwriter, Bob Gaudio; Michael Lomenda as the idiosyncratic, Nick Massi; John Gardiner as the coarse, loudmouth, and self-appointed leader of the group, Tommy DeVito; and Joseph Leo Bwarie, as the diminutive lead singer, Frankie Valli—breathe life into their real-life counterparts. Bwarie, especially, has matured into the role of Frankie Valli. He has played the lead singer for a number of years, but this time around he his portrayal is more nuanced and forthright.
The book by Marshall Brickman and Rick Elice cover a lot of historical ground which, especially in Act II, feels more like a greatest hits collection of the group’s lives as one major event after another is displayed on stage. Still, they handle their assignment deftly, hitting the highs and lows of each member focusing primarily on Frankie Valli after intermission as he steps out to lead a reconfigured Four Seasons.
Director Des McAnuff keeps the show moving briskly from one scene to the next with skillful and self-assured hands. He knows how to pace the production between the peaks and valleys of the storyline, resulting in a satisfying theatrical experience.
Jersey Boys, now at the Bushnell Center for the Performing Arts through November 6th.
During its first visit to Hartford, two years ago, I felt the show lacked cohesion as the actors were more caricatures—over emphasizing their rough and tough Jersey roots (and accents)--then portraying real characters. This time around the musical is like a tight, well-rehearsed horn section—full of punch and self-assurance.
The first part of the show builds slowly as characters are introduced, plot lines set-up. However, it’s not until just over halfway through Act I does Jersey Boys begin to hit its stride as the group rockets up the charts with back-to-back-to-back number one hits. The songs encompass the best of the Four Seasons songbook including “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” “Can’t Take My Eyes Off You,” “Rag Doll,” and many more.
The four stars—Preston Truman Boyd as singer/songwriter, Bob Gaudio; Michael Lomenda as the idiosyncratic, Nick Massi; John Gardiner as the coarse, loudmouth, and self-appointed leader of the group, Tommy DeVito; and Joseph Leo Bwarie, as the diminutive lead singer, Frankie Valli—breathe life into their real-life counterparts. Bwarie, especially, has matured into the role of Frankie Valli. He has played the lead singer for a number of years, but this time around he his portrayal is more nuanced and forthright.
The book by Marshall Brickman and Rick Elice cover a lot of historical ground which, especially in Act II, feels more like a greatest hits collection of the group’s lives as one major event after another is displayed on stage. Still, they handle their assignment deftly, hitting the highs and lows of each member focusing primarily on Frankie Valli after intermission as he steps out to lead a reconfigured Four Seasons.
Director Des McAnuff keeps the show moving briskly from one scene to the next with skillful and self-assured hands. He knows how to pace the production between the peaks and valleys of the storyline, resulting in a satisfying theatrical experience.
Jersey Boys, now at the Bushnell Center for the Performing Arts through November 6th.
Friday, September 30, 2011
Broadway Picks for 2011-2012
Last year I put up a list of Broadway shows I was looking forward to seeing for the 2010-2011 season. It was an eclectic list, mostly musicals, that ended up being a mixed bag of disappointments, non-openings, and few successes. Oh well.
This year there is a lot of star power coming to Broadway, but few interesting, new musicals that are totally, unequivocally, indisputably, without question set to open. So, here is my Top Ten list, in date order, of the Broadway productions I most want to see for the 2011-2012 season. We’ll talk in May about my choices.
RELATIVELY SPEAKING
New comedies by Woody Allen AND Elaine May AND Ethan Coen (as in the Academy Award winning Coen brothers) in one night! Granted, they are all one acts, but how else to squeeze in all three. The cast, a real smorgasbord of television, movie and theater actors, that includes Steve Guttenberg, Julie Kavner, Grant Shaud, Marlo Thomas, and Mark Linn-Baker. Could be a VERY funny night in the theater.
First Preview: scheduled for September 20, 2011
Scheduled Opening: October 20, 2011
HUGH JACKMAN, BACK ON BROADWAY
Tony winner, mutant, movie star, award show emcee, Aussie, song and dance man—is there anything I’ve left out—comes back to Broadway in a one-man show that is sure to be a crowd pleaser and SRO. Pulling out all the stops, there will even be an 18-piece orchestra backing him up.
First Preview: scheduled for October 25, 2011
Scheduled Opening: November 10, 2011
Special Note: This is a limited run with a scheduled January 1, 2012 closing.
BONNIE AND CLYDE
A positive buzz for a Frank Wildhorn musical? That hasn’t happened for quite a few years. The much maligned, power ballad crazed composer might have his first hit since Jekyll & Hyde over 20 years ago with the forthcoming Bonnie and Clyde. The man behind The Scarlet Pimpernel (decent run), The Civil War (flop), Dracula, the Musical (disaster), Wonderland (huge flop), and many more regionally produced shows comes in with the first non-revival of the year. In addition to the good word-of-mouth, the musical’s Clyde—Jeremy Jordan--has just opened to positive reviews in a stage production of the Disney movie, Newsies (which itself may end up on Broadway this year) at the Paper Mill Playhouse in New Jersey. Jordan has actually been shuttling between NJ, for Newsies, and NYC for rehearsals of Bonnie and Clyde.
First Preview: scheduled for November 4, 2011
Scheduled Opening: December 1, 2011
LYSISTRATA JONES
I will admit I don’t know much about this musical, but it was all the rage Off-Broadway last year. Something downtown, something original, and something edgy. The question is will it work uptown? Will it be this year’s Bloody Bloody Andrew Jackson, which worked so well in its initial run at The Public Theater and then crashed on Broadway?
First Preview: scheduled for November 12, 2011
Scheduled Opening: December 14, 2011
ONE A CLEAR DAY YOU CAN SEE FOREVER
This revival, originally set for an Off-Broadway run, was moved to Broadway once Harry Connick Jr. became involved with the production. Connick is a crowd pleaser and a true leading man with a role perfectly fit for his talents. A delightful score, with many memorable songs, by Burton Lane and Alan Jay Lerner (bit of trivia—according to Richard Rodgers, in his autobiography, he and Lerner were working on an ESP musical before differences ended the would-be collaboration. Soon after, Lerner and Lane came out with On a Clear Day).
First Preview: scheduled for November 12, 2011
Scheduled Opening: December 11, 2011
A EVENING WITH PATTI LUPONE AND MANDY PATINKIN
Let’s see--friends since their school days at Julliard and Tony winners for their respective roles in Evita. Add in an armful of memorable Broadway roles and electrifying solo concerts. Now combine these two powerhouse and emotive entertainers on one stage and you can almost feel the earth move. Goodness, one of them in concert would be worth the price of admission, but both. OMG!
First Preview: scheduled for November 16, 2011
Scheduled Opening: November 21, 2011
Special Note: This is a limited run with a scheduled January 13, 2012 closing.
PORGY AND BESS
One of the most talked about and critically examined shows of the year, including a scathing letter to The New York Times by Stephen Sondheim, this Broadway bound version of the Gershwin classic (inexplicably renamed as The Gershwin’s Porgy and Bess) has many theater-goers wondering what the uproar is all about. We’ll soon have our chance to chime in. Oh, and then there is the very talented cast headed up by Audra McDonald who’s return to the Broadway stage—no matter what the show—is always cause for celebration. In addition, there are Norm Lewis, David Alan Grier, and Joshua Henry (a standout in last year’s The Scottsboro Boys).
First Preview: scheduled for December 17, 2011
Scheduled Opening: January 12, 2012
ENTER LAUGHING
On my list from last year, but definitely scheduled for this season, Enter Laughing was one of the highlights from the 2008-2009 Off-Broadway theater season. The musical, in reality, a revival of the failed 1976 musical, So Long 174th Street, was hysterical and featured a comic tour de force by the young actor, Josh Grisetti, who will, once again, star as the stage struck teenager trying to break into show business. A number actors from the original York Theater production will also be making the trip to Broadway, including husband and wife, Jill Eikenberry and Michael Tucker.
First Preview: To Be Announced
Scheduled Opening: To Be Announced
NICE WORK IF YOU CAN GET IT
In 1983 there was a musical called My One and Only that incorporated Gershwin songs, that starred a charismatic male lead (Tommy Tune), and an engaging female star (Twiggy). The show was fun, frivolous and a hit of the Broadway season. Fast forward almost thirty years and a musical incorporating Gershwin songs, starring an appealing male lead (Matthew Broderick) and a captivating female star (Kelli O’Hara) is set to open on Broadway. Can lightening strike twice? With Broderick and O’Hara singing and dancing up a storm (the director is Kathleen Marshall) will the Gershwin estate once again score a Broadway hit.
First Preview: Spring 2012
Scheduled Opening: To Be Announced
ON THE TWENTIETH CENTURY
A few months ago I heard, maybe read, that Kristen Chenoweth was planning to star in a revival of the 1978 musical On the Twentieth Century, playing the role that Madeline Kahn originated (but only played for a short time). Kahn was Lily Garland, a temperamental movie diva and Chenoweth would be perfect for the role. The only problem—is the production more rumor or more fact? Also, in the original you had Kevin Kline (Tony Award) and John Cullum (Tony Award) that could go toe-to-toe with Madeline Kahn. Unless you have two actors that can do the same a revival will become more of “On the Kristen Chenoweth.”
First Preview: Unknown
Scheduled Opening: Unknown
This year there is a lot of star power coming to Broadway, but few interesting, new musicals that are totally, unequivocally, indisputably, without question set to open. So, here is my Top Ten list, in date order, of the Broadway productions I most want to see for the 2011-2012 season. We’ll talk in May about my choices.
RELATIVELY SPEAKING
New comedies by Woody Allen AND Elaine May AND Ethan Coen (as in the Academy Award winning Coen brothers) in one night! Granted, they are all one acts, but how else to squeeze in all three. The cast, a real smorgasbord of television, movie and theater actors, that includes Steve Guttenberg, Julie Kavner, Grant Shaud, Marlo Thomas, and Mark Linn-Baker. Could be a VERY funny night in the theater.
First Preview: scheduled for September 20, 2011
Scheduled Opening: October 20, 2011
HUGH JACKMAN, BACK ON BROADWAY
Tony winner, mutant, movie star, award show emcee, Aussie, song and dance man—is there anything I’ve left out—comes back to Broadway in a one-man show that is sure to be a crowd pleaser and SRO. Pulling out all the stops, there will even be an 18-piece orchestra backing him up.
First Preview: scheduled for October 25, 2011
Scheduled Opening: November 10, 2011
Special Note: This is a limited run with a scheduled January 1, 2012 closing.
BONNIE AND CLYDE
A positive buzz for a Frank Wildhorn musical? That hasn’t happened for quite a few years. The much maligned, power ballad crazed composer might have his first hit since Jekyll & Hyde over 20 years ago with the forthcoming Bonnie and Clyde. The man behind The Scarlet Pimpernel (decent run), The Civil War (flop), Dracula, the Musical (disaster), Wonderland (huge flop), and many more regionally produced shows comes in with the first non-revival of the year. In addition to the good word-of-mouth, the musical’s Clyde—Jeremy Jordan--has just opened to positive reviews in a stage production of the Disney movie, Newsies (which itself may end up on Broadway this year) at the Paper Mill Playhouse in New Jersey. Jordan has actually been shuttling between NJ, for Newsies, and NYC for rehearsals of Bonnie and Clyde.
First Preview: scheduled for November 4, 2011
Scheduled Opening: December 1, 2011
LYSISTRATA JONES
I will admit I don’t know much about this musical, but it was all the rage Off-Broadway last year. Something downtown, something original, and something edgy. The question is will it work uptown? Will it be this year’s Bloody Bloody Andrew Jackson, which worked so well in its initial run at The Public Theater and then crashed on Broadway?
First Preview: scheduled for November 12, 2011
Scheduled Opening: December 14, 2011
ONE A CLEAR DAY YOU CAN SEE FOREVER
This revival, originally set for an Off-Broadway run, was moved to Broadway once Harry Connick Jr. became involved with the production. Connick is a crowd pleaser and a true leading man with a role perfectly fit for his talents. A delightful score, with many memorable songs, by Burton Lane and Alan Jay Lerner (bit of trivia—according to Richard Rodgers, in his autobiography, he and Lerner were working on an ESP musical before differences ended the would-be collaboration. Soon after, Lerner and Lane came out with On a Clear Day).
First Preview: scheduled for November 12, 2011
Scheduled Opening: December 11, 2011
A EVENING WITH PATTI LUPONE AND MANDY PATINKIN
Let’s see--friends since their school days at Julliard and Tony winners for their respective roles in Evita. Add in an armful of memorable Broadway roles and electrifying solo concerts. Now combine these two powerhouse and emotive entertainers on one stage and you can almost feel the earth move. Goodness, one of them in concert would be worth the price of admission, but both. OMG!
First Preview: scheduled for November 16, 2011
Scheduled Opening: November 21, 2011
Special Note: This is a limited run with a scheduled January 13, 2012 closing.
PORGY AND BESS
One of the most talked about and critically examined shows of the year, including a scathing letter to The New York Times by Stephen Sondheim, this Broadway bound version of the Gershwin classic (inexplicably renamed as The Gershwin’s Porgy and Bess) has many theater-goers wondering what the uproar is all about. We’ll soon have our chance to chime in. Oh, and then there is the very talented cast headed up by Audra McDonald who’s return to the Broadway stage—no matter what the show—is always cause for celebration. In addition, there are Norm Lewis, David Alan Grier, and Joshua Henry (a standout in last year’s The Scottsboro Boys).
First Preview: scheduled for December 17, 2011
Scheduled Opening: January 12, 2012
ENTER LAUGHING
On my list from last year, but definitely scheduled for this season, Enter Laughing was one of the highlights from the 2008-2009 Off-Broadway theater season. The musical, in reality, a revival of the failed 1976 musical, So Long 174th Street, was hysterical and featured a comic tour de force by the young actor, Josh Grisetti, who will, once again, star as the stage struck teenager trying to break into show business. A number actors from the original York Theater production will also be making the trip to Broadway, including husband and wife, Jill Eikenberry and Michael Tucker.
First Preview: To Be Announced
Scheduled Opening: To Be Announced
NICE WORK IF YOU CAN GET IT
In 1983 there was a musical called My One and Only that incorporated Gershwin songs, that starred a charismatic male lead (Tommy Tune), and an engaging female star (Twiggy). The show was fun, frivolous and a hit of the Broadway season. Fast forward almost thirty years and a musical incorporating Gershwin songs, starring an appealing male lead (Matthew Broderick) and a captivating female star (Kelli O’Hara) is set to open on Broadway. Can lightening strike twice? With Broderick and O’Hara singing and dancing up a storm (the director is Kathleen Marshall) will the Gershwin estate once again score a Broadway hit.
First Preview: Spring 2012
Scheduled Opening: To Be Announced
ON THE TWENTIETH CENTURY
A few months ago I heard, maybe read, that Kristen Chenoweth was planning to star in a revival of the 1978 musical On the Twentieth Century, playing the role that Madeline Kahn originated (but only played for a short time). Kahn was Lily Garland, a temperamental movie diva and Chenoweth would be perfect for the role. The only problem—is the production more rumor or more fact? Also, in the original you had Kevin Kline (Tony Award) and John Cullum (Tony Award) that could go toe-to-toe with Madeline Kahn. Unless you have two actors that can do the same a revival will become more of “On the Kristen Chenoweth.”
First Preview: Unknown
Scheduled Opening: Unknown
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