Stu on Broadway

LYSISTRATA JONES--See It Before January 8th

2012-01-06T09:20:00.000-08:00

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.]

Review of "On a Clear Day You Can See Forever"

2011-12-24T18:16:00.000-08:00

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.

Review of "Chinglish"

2011-11-13T19:20:00.000-08:00

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.

Review of "City of Angels" - Goodspeed Opera House

2011-10-29T12:44:00.000-07:00

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.

Review of "Jersey Boys" - Bushnell Auditorium

2011-10-23T16:47:00.000-07:00

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.

Broadway Picks for 2011-2012

2011-09-30T06:17:00.000-07:00

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

Review of "Show Boat" - Goodspeed Opera House

2011-08-07T17:01:00.000-07:00

Let me state right at the start, the Goodspeed Opera House’s production of Show Boat is one of the best shows I have seen there in recent memory. The Jerome Kern and Oscar Hammerstein II classic radiates with emotional intensity, standout performances, and a celebrated score.

Show Boat, historically, is a large-scale musical. The early 1990’s Broadway revival was a lavish production where the riverboat itself was probably the size of the Goodspeed theater. But director Rob Ruggiero and his creative team have successfully pared down the musical, focusing on the relationships and interactions of the characters as opposed to emphasizing the grandiose spectacle.

The first act of the sprawling story, based on the Edna Ferber novel, takes place on the Cotton Blossom, the showboat run by Captain Andy. He, his crew, and band of entertainers ply the waters of the Mississippi, bringing dramatic readings and showgirls to the populace up and down the river. In quick succession we are introduced to the central characters—the fatherly Captain Andy; his wife, the stern, no-nonsense Parthy; their young, care-free daughter, Magnolia; the star performers, Steve Baker and his rapturous wife, Julie; the gentlemanly scalawag, Gaylord Ravenal; the squawking, yet talented dance team of Ellie May Chipley and Frank Schultz; and the two African-American boat hands, the deep-voiced, able-bodied, Joe; and his sensible, dignified wife, Queenie. There is young love, racial commentary, treachery, and comedic touches that enliven the action and set the stage for the heartbreaking and poignancy of Act II.

There are so many aspects of the musical to praise, but the first must be the groundbreaking score by Jerome Kern and Oscar Hammerstein II. Kern and Hammerstein were attempting to break free from the light-hearted, operetta mode so entrenched on the American stage. They were looking to add more depth and emotion to their work. With Show Boat they succeeded flawlessly. In Act I alone, we are treated to “Only Make Believe,” “Ol’ Man River,” “Life Upon the Wicked Stage,” and “You are Love.” Act II adds “Why Do I Love You” and “Bill.”

The songs are sung by a highly accomplished cast, all delivering finely polished performances. Let me, unjustly on my part, only single out five, starting with the Captain himself, Lenny Wolpe. His Captain Andy is paternal, supportive, and protective; the glue that holds the production together. He is always the reassuring core when trouble or discord take hold. He is so effortless in his role that you could easily envision Wolpe as the man in charge of a Mississippi riverboat. Lesli Margherita, a radiant and vulnerable Julie, has a dynamic, emotive voice that accentuates her character’s tragic nature. David Aron Damane, as the strapping Joe, sings with power and dignity. Sarah Uriarte Berry, as Magnolia, who metamorphoses from a young, unsophisticated lass to a hardened, world-weary woman, textures her role with impressive range and vitality. Her duets with Ben Davis’ Ravenal are some of the highlights of the production. Davis, the handsome rogue who wins the heart of Magnolia, the daughter of Captain Andy and Parthy, demonstrates a swagger and defiance that makes him both appealing and exasperating at the same time.

As I stated earlier, director Rob Ruggiero has woven together a magical production, no small feat considering the heft and history behind the musical. He assuredly takes the material from the Oscar Hammerstein II libretto and, by coaxing superb performances from the cast, presents an expansive, yet intimate portrayal from the late 1800’s to the early 20th century.

Noah Racey’s choreography, while minimal, develops naturally from the action on stage; the production numbers sprout organically from the storyline. He also gets to showcase the comedic and dancing talents of Jennifer Knox as Ellie May Chipley and Danny Gardner as Frank Schultz. Michael Schweikardt’s scenic design provide just enough substance and artifice for the audience to “Only Make Believe, ” whether on a Mississippi riverboat, a Chicago tenement or nightclub.

Show Boat, coming to life at the Goodspeed Opera House in East Haddam, CT, extended now through September 17th.

What to See on Broadway in 2011

2011-06-26T19:03:00.000-07:00

For the past few years I have listed my recommendations for people coming to New York to see a Broadway show. Below are my most up-to-date choices for June 2011. While there are a number of noteworthy productions, many of the top shows are continuously sold out and, therefore, advance planning is in order.

So, what are my top suggestions? I have broken them down into five categories:

Tikes – ages 6-9
Tweens – ages 10-13
Teen – ages 14-17
Young Adults – 18+ years
Adults

When I make a recommendation it is usually with the understanding that an individual or family has not been to the Broadway stage very often. I am looking at shows I might think the occasional theater-goer would enjoy.

I lean towards the newer shows, but this is not a knock against some of the old-timers such as Mamma Mia and Phantom of the Opera. However, this is all an inexact science with numerous variables to consider. For example, a Tween girl will probably love Wicked, but a boy…? Conversely, a Tween or Teen boy might be enthralled with the spectacle of Spider-Man, but a girl…? Other considerations -- Is one seeking a musical comedy or more serious production? What might appeal to two or three age groups at the same time? What about a mature eleven year old girl? What do we do about her? Etc. Etc.

I have not included such shows as The Book of Mormon, Jersey Boys, The Lion King, or Wicked as any of the primary choices since these shows are almost always sold out and you would have to pay a king’s ransom to acquire decent seats (Jersey Boys has been more available, but is still at 97%-98% capacity). I have included some of these shows at the end of each category under the heading – “IF AVAILABLE/LONG-RANGE PLANNING.” If one of these productions is available, disregard my rankings and scoop up the tickets pronto! If you are planning a Broadway trip down the road, it will be easier to procure tickets to these hard-to-get shows. Just expect to pay full price.

Speaking of procuring tickets, there are a number of ways to obtain theater tickets quite cheaply. You can refer to a previous blog I wrote.

The only non-musical I have included on my list is War Horse. If tickets are available – go! Fortunately, what was suppose to be a limited engagement is now an open-ended run.

Foul language is very subjective. I had a parent email me concerned about Billy Elliot. Yes, there are language issues with that musical, but nothing unheard of in middle and high schools across the country. And Billy Elliot is such a great show—the music, the dancing—I would not overlook the production because some of the young kids are cursing. The revival of Hair, coming back for a summer run, might cause some trepidation. The Book of Mormon is in a “language” category all by itself. If you or your children enjoy South Park and are not bothered by the language, then The Book of Mormon is just up your alley.

Within the listings there is considerable overlap. For example, The Lion King could enthrall everyone, from TIKES to ADULTS. The age ranges of each category can be flexible at either end of the spectrum so a TWEEN may in fact be quite comfortable in a YOUNG ADULT show. You may scratch your head about why I left a certain production off a category. For example, Chicago is not listed even though it has been playing for years and continues to do well at the box office. But Chicago is getting a bit old in the tooth and there are more worthy shows to plop down your money for. Finally, just because a musical is not on my lists does not mean it is undeserving of your patronage. Remember, these are my opinions. Shows that I have previously reviewed are linked to that review. So, without further ado…drum roll please…

TIKES (6-9 years old)

There use to be many Broadway shows for this age group, but the recommendations are now down to:

Mary Poppins – When I saw the show there was a bevy of very young children directly in front of me. They didn’t make a peep. Enough said.
Spider-Man – For TIKES at the older level. There are some scary moments when the monsters start attacking New York City. Not a great show, but with all the high-flying inside the theater the kids will be enthralled.

IF AVAILABLE/LONG-RANGE PLANNING – The Lion King.

TWEENS (10-13 years old)This is always a difficult category since, as parents know, a lot of changes are percolating inside of tweens. Are they a young or mature tween?

Billy Elliot – Not consistently selling out these days. Excellent score by Elton John and the dancing is some of the best on Broadway. TWEENS will be able to identify with the kids. Adults will find the story gripping.
Sister Act – When the action is inside the convent, Sister Act is a spirited, lively and entertaining Broadway musical.
The Addams Family – I found the show, based on the New York cartoons of Charles Addams, inoffensive and mildly amusing. TWEENS will probably like it because of the ghoulish nature of the source material.
How to Succeed in Business – I was disappointed with the show, but if your TWEENS are huge Harry Potter fans this would be a popular choice.
Spider Man – see under TIKES.
Phantom of the Opera – Like the Energizer Bunny this Andrew Lloyd Webber warhorse goes on and on and on. Very theatrical with one of Webber’s most melodic and recognizable scores. Might be a bit scary. And where else would you find a crashing chandelier.

IF AVAILABLE/LONG-RANGE PLANNING (in order) - Wicked, or The Lion King.

TEENS (14-17 years old)

Hair – One of the seminal rock musicals with another classic score. Youthful, energetic cast makes this a must see. Some language issues and nudity.
Billy Elliot – see under TWEENS.
Memphis – characters you care about, excellent performances and solid score.
How to Succeed in Business – I was disappointed with the show and while Daniel Radcliffe gives it his all his casting of J. Pierpont Finch was all-wrong. However, a must for Harry Potter fans.
Sister Act – see under TWEENS.
The Addams Family – see under TWEENS.
Spider-Man – see under TWEENS.
Mamma Mia – I thoroughly enjoyed Mamma Mia, but this recommendation is ONLY if you are an ABBA fan.
The Phantom of the Opera – see under TWEENS.

IF AVAILABLE/LONG-RANGE PLANNING (in order) – The Book of Mormon, War Horse, Wicked, or The Lion King.

YOUNG ADULTS (18+ years old)

Hair – see under TEENS.
Memphis – see under TEENS.
Anything Goes – a bit low-key, but when Sutton Fosters revs up her dancing shoes and singing voice the show really heats up.
Billy Elliot – see under TWEENS.
How to Succeed in Business – see under TEENS.
Sister Act – see under TWEENS.
Mamma Mia – see under TEENS.
The Addams Family – see under TWEENS.
Phantom of the Opera – see under TWEENS.
Rock of Ages – retro, 1980’s power rock musical. For the classic rock crowd.

IF AVAILABLE/LONG-RANGE PLANNING (in order) – The Book of Mormon, War Horse, Wicked, or The Lion King.

ADULTS

Anything Goes – see under YOUNG ADULTS.
Memphis – see under TEENS.
Billy Elliot – see under TWEENS.
Sister Act – see under TWEENS.
Phantom of the Opera – see under TWEENS.
Mamma Mia – see under TEENS.
The Addams Family – see under TEENS.
How to Succeed in Business – see under TEENS.

IF AVAILABLE/LONG-RANGE PLANNING (in order) – The Book of Mormon, War Horse, Jersey Boys, or Wicked.

Still unsure? Email me at Broadway99@comcast.net with your specific situation and I can see what I can recommend.

Review of "Spider-Man: Turn Off the Dark"

2011-06-25T06:01:00.000-07:00

At long last the embattled musical, Spider-Man: Turn Off the Dark, has finally opened. While I have followed the travails of the show in the media over the past six months, I have not seen any previous incarnations. Therefore, my review is based solely on my attendance at the official press night earlier this month.

So, what is the verdict? Has all those months or reworking, rewrites, restaging, reimagining, re-this, and re-that produced a hit or miss? Spider-Man, unfortunately, fails as a fully developed Broadway musical. I would classify it more as a Las Vegas spectacular or a Cirque de Soleil extravaganza. The story is banal, the characters are two-dimensional; and the score by Bono and The Edge of the rock super group, U2, is solemn with few unmemorable songs and too many overarching power ballads.

The plot follows the birth of the Spider-Man character—young Peter Parker, visiting a genetic engineering research firm, is accidentally bitten by a radioactive spider, thus enhancing the geeky high school student with superhuman powers. At the same time his body is undergoing such drastic physical and emotional change Parker is dealing with the death of his beloved uncle; his relationship with would-be girlfriend, Mary Jane Watson; and how to rid New York City of a small army of genetically created monsters, wrecking havoc around The Big Apple.

The cast is satisfactory with Reeve Carney as Peter Parker/Spider-Man and Jennifer Damiano as the love of his life, Mary Jane, notable primarily because they are on stage most often. Carney, brooding and contemplative, tries to salvage his role, but with the mostly rewritten book by Roberto Aguirre-Sacasa (original librettists Glen Berger and Julie Taymor are also credited) more a life-like depiction of a Spider-Man comic book there is no way Carney, as well as any cast member, can develop true, emotionally well-rounded characters.

The score by Bono and The Edge is not up to the ususal U2 standards. I doubt any of the numbers would have made the final cut for one of their multi-platinum selling albums. The songs are rather cheerless and moody pieces. Yes, the two are newcomers to the Broadway stage and with all the disarray swirling around the development of the production they could be given a break. But trying to write a Broadway score long distance—the group was touring Australia and New Zealand during a good amount of time during the show’s gestation period—proved to be an unsuccessful formula.

The director or, as he is billed in the Playbill, “Creative Consultant,” (ousted director, Julie Taymor, is still listed as “Original Direction by”) Philip McKinley has a background in Broadway musicals, but is better known as conceiving and directing multiple editions of Ringling Bros. and Barnum & Bailey’s The Greatest Show on Earth. This experience serves him well in supervising the aerial daredevilry and stunts (more on that later). But the direction of the non-high-flying portions of the show are matter-of-fact and are only salvaged by George Tsypin’s imaginative and striking sets (again, more later). The choreography, by Daniel Ezralow and Chase Brock, which could potentially inject life into the musical, is lackluster and uninspired.

So, what’s positive about the show? The backdrops, scenery and projections are superb (you know a production is in trouble when that’s its most outstanding feature). If the rest of the musical was half as good, Spider-Man would be a smash hit. Viewing certain set pieces unfold into buildings and neighborhoods; moveable parts assemble around the stage, giving breadth and depth to the city; and large stage encompassing projections utilized to heighten the fear and terror brought forth by the super-villain, The Green Goblin and his henchmen, you can begin to understand why Spider-Man is the most expensive show in Broadway history. One of the more striking scenes is when the two teenagers are walking home, after Peter Parker has been roughed up at school, and as they head through their rundown streets the neighborhood scenery unfolds and changes via the pages of an oversized picture book. In “Bouncing Off the Walls,” the soon-to-be Spider-man begins to discover his new powers and, literally, begins to climb and bounce off the walls of his room. It is a simple, but effective scene.

Lastly, there are the high-flying aerial derring-dos, what the musical has infamously become known for during all these months leading up to its opening night. The aerial design and rigging by Scott Rogers and Jaque Paquin is impressive—up to a point. After a while the wow factor begins to fade as the jumping and ricocheting around inside the interior of the Foxwoods Theatre becomes a bit tiring. Even the climatic battle scene, played out above the audience, between Spider-Man and The Green Goblin wears thin rather quickly.

Spider-Man: Turn Off the Dark, a lightweight entertainment spectacle more three-ring circus then Broadway musical.

Review of "The Mad Bomber" in Waterbury, CT

2011-06-19T07:56:00.000-07:00

During the late 1940’s to mid-1950’s, George Metesky of Waterbury, a former Consolidated Edison employee, disgruntled over an injury received on the job, began a reign of terror in New York City by planting pipe bombs in well-known and well-traveled places in the city. He became known as “The Mad Bomber” and part of his story is now the basis for a world premiere musical at the Seven Angels Theatre in Waterbury, CT.

The show, entitled “Mad Bomber,” is, at best, viewed as what might be the first step in a long process to fully realize its potential. Many new musicals go through a systematic developmental route to work on all aspects of a show. This would involve staged readings, workshop productions, out-of-town tryouts and, finally, opening night. The current production of the “Mad Bomber” could be classified as being at the workshop stage.

There are two areas of the musical that the creative team needs to address. First, is the direction of the show. Many players are introduced at the onset—New York City Mayor, Robert Wagner; Police Commissioner Kennedy; Democratic boss, Carmine DeSapio; James Brussel, a psychiatrist and profiler—with the sole purpose of providing an unnecessary amount of background information (which is already provided in the program). This needless exposition and introduction of real-life characters serves no real purpose in moving the action forward and delays the focus of the musical—the story of George Metesky. However, Charles Monagan, who wrote both book and lyrics to the “Mad Bomber,” has included in the cast two reporters, Sally Jo Dorman and Billy Breen, from competing newspapers that helped break the case. While the roles need more development, the two, played with charm and vitality by Cassie Okenka and Bobby Grouse, could be the thread to provide a coherent structure to the production. This would also allow more of the George Metesky character who is only seen spottily throughout the show.

The second issue that needs to be examined is the tone of the musical. What is the overall objective? Does the musical want to have darker, more cynical overtones? Is it looking to be a more lighthearted, romantic romp (as when Sally Jo and Billy inexplicably go into an entertaining, but baffling tap routine)? The production zigs and zags from one shade to another, incorporating too many styles instead of focusing on one. The one scene I thought worked extremely well, with menacing nuances and dramatic tension, was during the song, “Dear Sir,” where, in a split stage, Sally Jo is composing open letters to the Mad Bomber and reading the responses to her newspaper while on the other side of the stage Metesky composes his rantings and berates his treatment by the publication and the world. If the essence of those moments on stage could be expanded to the whole production, the “Mad Bomber” could become riveting theater. Meaningless characters, pointless scenes and superfluous songs could be excised, replaced with material that would build to a gripping climax.

John Swanson, as George Metesky, gives a world-weary performance, but he comes across as more upset then someone who, at the end of his eventual trial, was declared a paranoid schizophrenic and legally insane. In addition to Cassie Okenka and Bobby Grouse, both who demonstrate wonderful singing voices; Matt Martin’s performance during “The Paris of Naugatuck Valley” is a highlight of the show.

The score by Richard DeRosa and Charles Monagan has some promising numbers but, like the libretto, needs work in crafting songs that better flesh out the characters in the show and more effectively move along the plot of the production.

Director Semina DeLaurentis works well with the material presented to her, but as the leader of the creative team needs, in this case, to function more as an editor, critic and cheerleader to further shape and mold the material; choreographer Janine Molinari needs to bring a consistent and appropriate style to the musical. Is tap and some ballroom dance steps germane to the thrust of the show?

The “Mad Bomber” – a promising premise that needs further development in order to realize its full potential, playing at the Seven Angels Theatre in Waterbury, CT now through June 26th.

2011 Tony Awards

2011-06-12T17:06:00.000-07:00

The real question tonight is how many Tonys will The Book of Mormon receive. I'll be blogging "live" all night long.

-Neil Patrick Harris' opening was a great introduction to the show. Maybe a bit too heavy on the gay emphasis for the country's midsection, but nice razzle dazzle.

-Ellen, it's the first award. Let'a wrap it up!

-"Brotherhoold of Man" number from How to Succeed is outstanding! Except why does the camera keep focusing off to the side during the song? Stay centered! Daniel Radcliffe seems much more self-assured and relaxed then when the show opened. He shows he can dance and sing. Should drum up business at the box office.

-Interesting idea to have John Leguizamo reminisce about his Broadway moment, but a tad too much.

-Normal Heart shaping up to be the big non-musical winner.

-Smart move for Catch Me If You Can to highlight "Don't Break the Rules" from the show. It was the best production number of the musical and allows the world to joyfully experience the talent of Norbert Leo Butz.

-Spiderman jokes were very funny even though Bono didn't seem over pleased. The gimmick is from Comedy Central's Tosh 2.0.

-Such a powerful show it's a shame The Scottsboro Boys closed after such a short run. Thank goodness it's going to be touring. Good number from the show even though it doesn't have the feel good nature of the other nominees.

-I wish The Book of Mormon number was either "Hello," "Two by Two," or "Turn It Off" instead of "I Believe." That would have really given the TV audience a much better idea of the show.

-Wow! Best part of the broadcast so far--Hugh Jackman and Neil Patrick Harris with their "Anything You Can Do" duet. That was a showstopper.

-WHAT???!!!! I can't believe John Larroquette wins Best Featured Actor in a Musical for How to Succeed. I didn't think he was very good at all. Rory O'Malley was soooo funny in The Book of Mormon. He should have won. Even Forrest McClendon and Colman Domingo from The Scottsboro Boys were better then Larroquette. Very disappointing.

-Is that the best they can show from Spiderman? Wake me when the song ends.

-I am so happy that the creative team from War Horse is being recognized. This was one show where sound, lighting, music, and effects were just as integral to the production's success as any other aspect of the show.

-Let's see, if my math is correct, I have The Book of Mormon down for six Tonys.

-Perfect number to introduce potential theatergoers to Sister Act.

-My favorite number from Memphis, "Steal Your Rock 'n' Roll." Nice promo for the show. I can't believe Chad Kimball and Montego Glover are still in the musical. Good for them and great for audiences.

-Congratulations to War Horse. I think they are up to five Tonys. I told you all to get your tickets early.

-You want to sell tickets to your show via the Tony broadcast? Step one--have a great song. Step two--have a triple threat actress such as Sutton Foster leading the way. Step three--throw in a rousing tap number. This production number is why Anything Goes will win Best Musical Revival and why Foster should win her second Tony Award.

-Again, let's stage a musical number strictly to sell tickets. This time to promote the all-star Company coming to hundreds of movie theaters across the country that will be charging $18.00 a pop to view the filmed production. Was I alone, or did others feel that "Side by Side" was a bit flat? Uninteresting?

-Daniel, slow down, relax. Have fun. Just wave a wand or something during the Best Actress announcements?

-I am so happy that I've been able to see Sutton Foster in most of her Broadway roles. She is soooo great.

-Why is it that I have no desire to see Priscilla, Queen of the Desert? And after their turn on stage my attitude is only amplified.

-As the 2011 Tony Award telecast comes to a close I would have to say this is one of the best Tony Award broadcasts I can remember. It was entertaining, had nice pacing, and real energy. Now, let's see what the fall-out will be.

-Congratulations to Mark Rylance for Best Actor. I preferred him in La Bete, which I love. Did not care for Jerusalem. Why does he always have to give such a rambling acceptance speech?

-So happy to see Norbert Leo Butz win. He is such a trooper, whether in a play, comedy, or musical. This just might save Catch Me If You Can from an early demise.

-Gee, how anti-climatic -- The Book of Mormon wins Best Musical. That brings them to eight total awards for the show. Good job.

-Chris Rock gets my nomination to host next year's awards. His few moments on stage were very funny. Unscripted, edgy, and funny. Neil Patrick Harris--fine job, once again.

-Playbill.com has posted Neil Patrick Harris' show ending rap, penned by Lin-Manuel Miranda of In the Heights fame.

Discounts to Broadway Shows

2011-06-05T06:52:00.000-07:00

The other day I posted information about discount tickets to Broadway shows on TripAdvisor.com, my favorite site for seeking travel information and recommendations. With the summer tourist season about to begin in New York, I thought it would be helpful to reprint the information here.

1. The TKTS half-priced ticket booth in the middle of 46th and Broadway has A LOT of Broadway and Off-Broadway shows discounted up to 50% (there are also locations at the South Street Seaport and in Brooklyn). The booth sells same day tickets to shows, opening at 10am for matinees and 3pm for evening productions (you cannot buy evening tickets during 10am - 2pm). You always want to get in line with 4-5 choices. Sometimes you will find some of the hits up there, mostly Tuesday-Thursday nights, but don't count on finding Wicked, Lion King, or The Book of Mormon. The queue can be long, but goes fast. It is also a very friendly line. You meet the most interesting people from all over the world. The TKTS Booth now accepts credit card payment. There is a $4.00 per ticket surcharge for each ticket purchased.

2. Almost every Broadway show has a lottery and/or rush policy. You could score VERY inexpensive tickets.

3. Go to Broadwaybox.com. Choose a show and print out the discount coupon code page. Shows can be discounted up to 50% (again, not the most popular ones). You can order online, but the problem is they add an $8-$10 PER ticket surcharge. It is better to print out the coupon code page and bring them to NYC. I would suggest printing out coupons for 4-6 different shows. Go directly to the box office. There is no surcharge doing it this way, you get to choose your seat location, and you can purchase tickets when the box office opens which is usually around 10am. Check the coupon page, but for most shows you can purchase up to eight tickets per page.

Review of "My One and Only" - Goodspeed Opera House

2011-05-27T13:50:00.000-07:00

The cover of the program for the Goodspeed Opera House’s first show of the season, My One and Only, says it all – “A Tap Dance SPECTACULAR!” For aficionados of tap the musical, which consists of an all-Gershwin score, is a dream come true. Within the first five minutes the cast is hoofing it up with a sweeping production number on the small stage.

The show, a 1983 hit on Broadway for Tommy Tune and his friend, Twiggy, is a variation of the old standby of boy meets girl, boy loses girl and, in the end, boy gets girl. Billy Chandler, played with sprightliness and vigor by Tony Yazbeck, an aviator looking for fame and fortune by being the first pilot to fly solo across the Atlantic Ocean, glimpses bathing beauty and English Channel crosser, Edythe Herbert, and his heart goes a thumping. Throw in her controlling Russian promoter, political intrigue, a salty female mechanic and even the Arabian nights, and you have the loopy, frivolous plot, crafted by Peter Stone and Timothy S. Mayer, for My One and Only.

The storyline is not the reason for sashaying to East Haddam, CT, home of the Goodspeed Opera House. There are two more important motivations—the songs and the dancing. As mentioned before, the creators of the musical incorporate a slew of George and Ira Gershwin classics into the score. They include “High Hat,” “’S Wonderful,” “Strike Up the Band,” “Funny Face,” and the title number. They are delivered with polish and exuberance. Add the spirited dance routines choreographed with grace and abandon by Kelli Barclay, and you have all the ingredients for a buoyant and carefree theatrical experience.

One new feature of the production is the incorporation of a projection system, which heightens the realism and playfulness of the backdrops for the show. While affording the musical to go beyond the normal props and scenery, let’s hope the technology is used accordingly in subsequent offerings and does not take away the intimacy and charm, hallmarks of the Opera House.

Tony Yazbeck as the flying ace, Billy Chandler, is more country boy hayseed as opposed to the formal elegance of Tommy Tune’s original.
His “aw shucks” demeanor works well within the framework of this production. What really matters, though, is he’s a tap dancing whirlwind with a fine singing voice and strong stage presence. Gabrielle Ruiz, as his love interest, Edythe Herbert, is too aloof in her role and she and Yazbeck have little chemistry as a couple. Kirsten Wyatt, as the aviator mechanic, Mickey, is the requisite comic foil, even though some of her lines and antics were a bit over-the-top. Alde Lewis, Jr., as the proprietor of Mr. Magix’ Emporial, while a lowkey presence during his scenes, primarily seated in a barber chair, is a proficient dancer. His singing and dancing with Tony Yazbeck during the Gershwin classic, “My One and Only,” was the highlight of the show.

Director Ray Roderick takes all the components of the musical, shakes well, and pours out a tuneful, dancing extravaganza that is sure to be a crowd pleaser during the first part of the summer. My One and Only, now through June 25th at the Goodspeed Opera House in East Haddam, CT.

Bit Parts

2011-05-13T19:04:00.000-07:00

Every so often there are topics I want to address That I can’t impart within 140 characters on my Twitter account, but are too short for a full blog entry. Therefore, my inaugural Bit Parts, which will be an amalgamation of shorter musings.

The Book of Mormon is the huge hit of the current Broadway season, playing to over 100% capacity each week. Are you curious to know what all the fuss is about? There is a MySpace page where you can receive a FREE listen. This is not a download, but a no-strings-attached way to hear the complete score.

Interestingly, as I played the songs it struck me how visual The Book of Mormon is. The songs are funny, witty and, to some degree, profane, but unless you have seen the show you would not get all the jokes. Naturally, you could say this about most musicals, but I cannot think of a recent show where this is so prevalent.
Does anyone remember a show called Spiderman? Well, it’s back! The revamped production is set to open in mid-June. This time I would be shocked if it doesn’t actually, officially, really, truly open this time around. However, don’t you feel the hoopla from the previous six months has deflated the excitement and enthusiasm for the show?
Kristen Chenoweth is planning to star in a revival of the Cy Coleman, Betty Comden and Adolph Green musical, On the Twentieth Century. The underappreciated 1978 production garnered Tony Awards for Kevin Kline and John Cullum and made a star of Judy Kaye after Madeline Kahn left the show after only a couple of months. The role of Lily Garland would be a perfect fit for Chenoweth as opposed to her previous stint in the revival of Promises, Promises. Let’s hope they can cast strong male leads in order to give the musical its proper balance.
War Horse, my choice for Best Play, has not been receiving a lot of love from the early theater award groups. Jerusalem seems to be the leading choice. However, many of these esteemed bodies have cited War Horse for special citations to recognize the noteworthy achievement by the creative team behind the production. My question – if these groups are so enamored with War Horse why not just acknowledge it as the Best Play? Maybe it’s just too commercial for their tastes.
Wonderland is the first new spring musical to post its closing notice, delivering its last performance on May 15th. While the show is flawed it does have some merit—especially its eclectic score. Unfortunately, in today’s hard economic reality, unless you are a certifiable hit or receive respectable reviews a show’s longevity is slim. In the days when attending a Broadway show—play or musical—didn’t cost a king’s ransom a show like Wonderland could carve out a decent run. It’s too bad we now have a feast or famine state of affairs.

Idina Menzel in Concert - Hartford, CT, May 6th

2011-05-07T14:15:00.000-07:00

There was a lovefest the other night at the Bushnell Center for the Performing Arts where Idina Menzel made a stop on her cross-country concert tour. As soon as the Broadway and television star entered center stage, fronting the Hartford Symphony Orchestra, the audience erupted in applause and adoration. A Tony Award winning actress for Wicked, Menzel has gained greater popularity for her appearances on the television show Glee. Leveraging this populous fame, the newly minted Dr. Menzel (having received an honorary doctorate earlier in the day from C.W. Post University) has embarked on her current concert schedule.

The intermission-less, one and one-half hour program included just over one dozen songs (not including the compositions she sang about her son, Walker), which I found to be slightly unfulfilling. There could have been less of the cute, sometimes self-deprecating and rambling, banter between numbers and more selections that featured her powerful, soaring soprano. Hearing the Long Island native live was truly an enthralling and entertaining experience. There are few performers, nowadays, that can captivate an audience singing a cappella in such a large venue (as she did with “For Good” from Wicked), belt one to the rafters (“Don’t Rain on My Parade” from Funny Girl), or tenderly wrap a ballad together as she demonstrated with “Love for Sale” by Cole Porter.

The collection of songs mixed Broadway (“Look to the Rainbow” from Finian’s Rainbow and a number of songs from Wicked), pop (“Roxanne” by The Police and “Poker Face” from Lady Gaga) to her originally penned song, “Gorgeous.”

While I would have preferred more singing from Ms. Menzel, I did find her very open with a cheerful, playful personality. You could tell she was honestly happy to be performing for all the fans in attendance. Her heartfelt love to the audience was reciprocated many times over during the evening performance.

The Hartford Symphony Orchestra was a magnificent back-up to the singer. Their full, lush sound provided a thrilling complement to the vocal theatrics of Ms. Menzel. Let’s hope she keeps Hartford in mind for future visits.

2011 Tony Musings

2011-05-06T14:00:00.000-07:00

The Tony nominations are out and everyone seems to have an opinion. Including myself. Here are my musings, mostly about the musical nominees since I’ve been able to see most of them. So, in no particular order:

Best Musical – Right now The Book of Mormon is the clear-cut favorite, a critical and commercial hit. Some people seemed surprised that The Scottsboro Boys was included on the list since it only played 49 performances before closing last December, but that show was riveting theater and definitely deserved one of the nominated slots. It is a shame the musical is still not playing. First, because it was a solid, thought-provoking production. Second, it would have made a real race out of the Best Musical award. As for now, in a season populated by mediocre offerings, The Book of Mormon and The Scottsboro Boys were the two sure bets for nominations. While I do believe The Book of Mormon will win the Tony for Best Musical of the Year, don’t count out The Scottsboro Boys.
Best Original Score – A lot is being made of the fact that this is the first time in 14 years where this category features completely original scores. While I applaud, this is no standing ovation moment since, besides The Book of Mormon and The Scottsboro Boys, the other nominated scores are blase at best. One score that should have been selected was for the play, War Horse. Adrian Sutton’s music heightens the emotion and tension of the show. I would have also liked to see Wonderland get a nod. Yes, it’s not a great show, but the score is more consistently entertaining then most this season. The winner? Probably The Book of Mormon, but wouldn’t it be nice for the last John Kander/Fred Ebb Broadway score, to be recognized?
Interesting that there were only two musical revivals this year when, in year’s past, it seemed most musicals that opened during a season were revivals.
I have seen my fair share of the non-musicals this year. For me, clearly, the most outstanding production was War Horse. I haven’t been as moved and entertained by a show in years. My pick for Best Play.
Jerusalem seems to be the darling of the critics. As my review attests, it wasn’t one of my favs. Friends that went with me wholeheartedly agreed. Reading reviews and other comments on the show I can’t help think of the Emperor’s New Clothes. People seem to see something that just isn’t there.
Best Actor in a Musical – Tough category! But first, who didn’t get a nomination? How about Aaron Tveit? How could the Tony Committee not select him for Catch Me If You Can? While nominee Norbert Leo Butz is one of my favorite actors, Tveit deserved recognition for his portrayal of the wily and energetic conman, Frank Abagnale, Jr. Next, Benjamin Walker from Bloody Bloody Andrew Jackson. His charismatic swagger and confidence was what made the show. Lastly, Daniel Ratcliffe. Give him kudos for jumping into a musical comedy role, but his performance in How to Succeed in Business was adequate at best. I thought it was rather ridiculous to read one writer complain about his snub because he had put in so many months learning how to sing and dance. If that’s all it took! So, who will win? My vote, drum roll please, goes to Joshua Henry from The Scottsboro Boys. He was the powerful core to that show. Andrew Rannells and Josh Gad from The Book of Mormon were hysterically funny, but Joshua Henry was the very soul of The Scottsboro Boys.
Best Actress in a Musical – No debate: Sutton Foster wins Tony number two.
Best Featured Actor in a Musical – Even tougher then Best Actor. Again, a face-off between The Book of Mormon and The Scottsboro Boys. I was not impressed with John Larroquette’s J.B. Biggley in How to Succeed in Business. Adam Godley was fine as the eccentric Lord Evelyn Oakleigh in Anything Goes, but neither were of the caliber of Rory O’Malley from The Book of Mormon and Colman Domingo and Forrest McClendon from The Scottsboro Boys. The latter three were simply outstanding—O’Malley as the hilarious Elder McKinley in The Book of Morman and Domingo and McClendon as, respectively, Mr. Bones and Mr. Tambo, among other characters they played, in The Scottsboro Boys. Any one of them would be a fine choice with me, but as more of a musical-comedy person, I’d like to see O’Malley win.
Best Direction/Choreography of a Musical – It used to be that a director directed and a choreographer choreographed. Nowadays, it’s not unusual for both positions to be filled by the same person. Such is the case this year where all four nominees for Best Director and Best Choreographer are one and the same (the exception being Trey Parker who is nominated as a co-director of The Book of Mormon, but not as a Best Choreographer). I was unimpressed with Rob Ashford, from How to Succeed in Business, in both categories. For director, it will probably be The Book of Mormon juggernaut with Casey Nicholaw and Trey Parker, but my vote would go to Susan Stroman for The Scottsboro Boys. I just think she brought more directorial vision to that production. Kathleen Marshall should snag the choreographer award for Anything Goes, just for the scintillating dance number to end Act I.

The last comment/question is will The Book of Mormon, with 14 nominations, break or tie The Producers for most Tonys (they won 12)? It will be tough, but even though there could be significant competition from The Scottsboro Boys, Tony voters like to go with a winner and The Book of Mormon is most certainly a bona fide winner. We’ll have to wait until Sunday, June 12th at 8pm to find out.

Review of "Sister Act"

2011-05-01T17:17:00.000-07:00

Sister Act, the new musical based on the movie of the same name, can be viewed as two different musicals. When the action takes place in the convent, Sister Act is a spirited, lively and entertaining Broadway musical. But outside the cloistered walls of the church, the production languishes in plot exposition, matter-of-fact performances, and underwhelming songs. Obviously, when the show is under the guidance and protection of the Lord, Sister Act is a rollicking good time but, unfortunately, you can’t build a successful musical with half the goods.

The general plot follows the movie storyline as would-be disco diva, Deloris Van Cartier (Patina Miller) witnesses a gangland slaying by her sleazy mobster boyfriend, Curtis Jackson, (Kingsley Leggs). Seeking protection from the police, she encounters officer Eddie Souther (Chester Gregory) who just happens to be a high school classmate that also, conveniently, had a huge crush on the threatened woman in his younger days. He whisks her away to a local convent to keep her out-of-sight and safe. At the convent a clash of cultures occur, primarily, between the exuberant and feisty Deloris and the dignified and restrained Mother Superior (divinely played by Victoria Clark).

Van Cartier, told to keep a low profile, instead takes over the solemn, but rather pathetic, church choir turning it into a heavenly sensation. They become a media darling which, or course, leads the bad guys to the convent where, after a brief, chaotic chase through the hollowed grounds, the gangsters are caught and a happy ending prevails.

The main reason to see Sister Act is Patina Miller. She plays Van Cartier with dynamism and gusto. Her powerful voice energizes the stage and shakes the very foundation of Klara Zieglerova’s beautifully conceived and sometimes whimsical sets of the inner sanctums of the church. Miller’s scenes with the gaggle of cloistered nuns provide a continuous humorous thread throughout the production. Standouts among them include Sarah Bolt, Marla Mindelle, and Audrie Neenan. Victoria Clark, as the Mother Superior, gives a more measured performance. However, this allows the actress to deadpan her way through the musical, showing great comic timing with her slow burns and double takes and entendres. Chester Gregory is laid back as policeman “Sweaty” Eddie Souther. While sometimes too nonchalant in his role, he does have a fine voice and some good dance moves.

The music from composer Alan Menken and lyricist Glenn Slater mirrors the show itself. While in the convent the score pulsates with high-octane and disco-inflected numbers such as “Raise Your Voice,” and “Sunday Morning Fever.” Otherwise, the songs are more routine and conventional.

The original book for the pre-Broadway productions of Sister Act, including the London run, was by television writers, Cheri and Bill Steinkellner, but the current version is now attributed more to Douglas Carter Beane. Regardless of who takes credit for what, the libretto for the show is perfunctory with flashes of playfulness and amusement.

Director Jerry Zak has done better work previously. He does demonstrate his comedic flair while, surprise, surprise, we are in the confines of the church, but outside the prying eyes of the lord the production limps along until we are back on holy ground.

Sister Act, like many new musicals this year, a big fat average.

B'way Radio Show Fundraiser

2011-04-30T13:36:00.000-07:00

Tomorrow, Sunday, May 1, 2011 is my slot for our radio station’s annual fundraising drive. During the weekly broadcast of my Broadway music program, On Broadway, I'll be asking for your donations from 5:30-6:30 pm EST. WRTC-FM, the radio station of Trinity College in Hartford, CT has been seeking donations all week throughout their programming schedule. We are fortunate that this request for donations occurs only once a year.

You can call in a pledge (860-297-2450) during my program or email me a pledge at broadway99@comcast.net. I would just need your full name, mailing address, home phone number and the amount of the pledge. For $25.00 or more you can receive either a WRTC-FM T-Shirt (list size) OR a cast album CD (list 2-3 choices). Postage in the United States is FREE; outside the U.S. add $5.00.

Here is a list of the available cast album CDs:

Carousel (1965 Lincoln Center revival)
City of Angels
Drowsy Chaperone
42nd Street (original cast)
How to Succeed in Business (original cast)
Kean
Mame
Oliver (original Broadway cast)
Peter Pan (with Mary Martin)
Promises, Promises (recent revival)
Sister Act (London cast)
Sail Away
Salvation
1776 (original Broadway cast)
[title of show]
Whoopi Goldberg's 20th Anniversary One Woman Show
Wonderland

Solo CDs that are available:

Linda Eder, Now (just released)
Sutton Foster, Wish
Brian Stokes Mitchell

If you enjoy hearing Broadway music, enjoy the convenience of being able to subscribe to my weekly podcast of the show, or hear real time streaming of the program, and hearing reviews of Broadway productions, please consider donating. Thanks.

Review of "War Horse"

2011-04-24T11:49:00.000-07:00

War Horse, a big hit on the London stage, now receiving its Broadway premiere at the Vivian Beaumont Theater at Lincoln Center, is pure and simple riveting and captivating drama. The play, based on the children’s book by British author, Michael Morpugro, is renowned—and decidedly so—for its use of life-sized puppets to simulate the horses at the center of the story. Operated by three puppeteers, they breathe life into the young and mature creatures. They playfully romp around the stage, arch upward in anger or fright, and exhibit affection with a gentle nuzzle and the twitch of an inquisitive ear. Very soon you begin to form an emotional attachment to these creations as your imagination takes over and you come to believe they are fully realized animals. It is truly remarkable what Adrian Kohler and Basil Jones of the South African Handspring Puppet Company have accomplished.

The backdrop of War Horse is the horror and tedium of World War I. Initially, though, we are introduced to young Albert Narracott, portrayed with exuberance and wonder by Seth Numrich, as he comes into possession of a young foal he names Joey. Within a few years the bond between the two is strong and unyielding. But then the War to End All Wars intervenes and, through a series of events, Albert’s treasured horse is sent overseas to serve in the cavalry of the British Army on the plains of France. Soon, though underage, Albert enlists in order to find his beloved steed. There is, of course, much more to the plot of War Horse, but revealing further details would be unfair and unwarranted. Why spoil the emotional rollercoaster that this production generates?

Emotion is the key word for War Horse. From almost the start we are drawn into the story and are continually captivated and enchanted. But it is not just the strength of the narrative that bewitches and mesmerizes. All the separate components of the show—lighting, sound, scenery, projections, and music--have united to create a powerful, yet poignant whole. The artistic team’s work is most brilliantly conveyed as the action switches to the war front--panic and terror become so illuminated by the flashes and resonance of bombs exploding; the simple, yet affective overhead projections that bring a sketchbook’s renderings of the war to life; the muted, but evocative set pieces; and especially the music by Adrian Sutton. His background compositions heightened the on-stage tension and mood swings like the best movie soundtrack. Don’t be surprised if he receives a Tony nomination for Best Score.

Directors Marianne Elliott and Tom Morris work brilliantly to bring the illusion and enchantment of War Horse, with its large company of actors and aforementioned creative elements, to life. There is a lot to juggle in the production and Elliott and Morris, along with Toby Sedgwick, billed as director of movement and horse movement, are in perfect harmony presenting what is nothing short of theatrical magic.

While the attention throughout the show is justifiably focused on the equine creations, the actors and actresses are, likewise, an integral part of the show. They breathe life into the story, humanizing the wartime atmosphere at home and abroad as well as putting an all too real face on the horror of the conflict. Seth Numrich, as the farm boy turned soldier, Albert Narracott, is the center of attention in this superbly acted show but, in reality, this is an ensemble piece with each performer perfectly fitted into the production.

Kudos also go to Nick Stafford for his sure-handed, beautifully crafted adaptation of Michael Morpugro’s book which, in my opinion, is the best non-musical of the year.

War Horse, a theatrical event that needs to be experienced live—don’t wait for the Steven Spielberg movie version—and the intimate, 1,100 seat Vivian Beaumont Theater at Lincoln Center is the perfect location.

Review of "Jerusalem"

2011-04-21T18:25:00.000-07:00

Dramatic tension is a necessary element for any thoughtful, serious piece of work. Without this essential ingredient the audience becomes less absorbed with the action on stage. In addition, if the characters are not too intriguing or complex or have few, if any, redeeming qualities an audience’s engagement is even less focused.

These are the two compelling problems with the London import, Jerusalem. Nothing of significance occurs during the three-hour production and you never connect with the assorted social misfits and malcontents populating the show.

The play revolves around Johnny “Rooster” Byron, a drunk, drug dealer, and disaffected agitator whose broken down trailer has been squatting on the public, wooded land of a small English village for decades. He parties out-of-bounds with no consideration for the area’s residents. Like moths to a flame, he attracts underage teenagers; alienated, young adults, and other assorted oddballs to his ramshackle, garbage-strewn site. They come for a hit of whiz (cocaine) and to forget about their pathetic lives in the real-world. The crux of the plot revolves around the impending eviction of “Rooster” from his hole-in-the-wall plot of land. Throughout the play, with his forceable removal lingering in the air like some rotten stench, we hear the depressing and woebegone tales from his so-called friends and past relationships. The stories could be seen as a commentary on small town life by disaffected individuals, but playwright Jez Butterworth doesn’t present a compelling, overly coherent narrative to bolster this viewpoint. Instead there is just a lot of loquacious bantering.

Mark Rylance, who made such an indelible impression on theater-goers last fall in La Bete, stars as “Rooster” Byron. From the start Rylance embraces his character with flamboyant gusto. He is at turns comic, vindictive, and philosophical. He is also almost everyone’s worst nightmare. The problem is his contemptuous and unsubmissive profile is so galling and audacious that you become numb to his presence and shennanigans. The rest of the cast is uneven. However, Mackenzie Crook is effective as “Rooster’s” one “friend,” Ginger. He is sufficiently disassociated from the world outside “Rooster’s” domain. He is a sorry lapdog constantly in need of attention and ridicule. Alan David is mischievous and the personification of eccentricity as the Professor, and Max Baker is lamentable as Wesley, the downcast pub owner.

Playwright Butterworth has crafted a show with much talk, tomfoolery, and even sporadic humor. But the major plot lines never take flight; the characters are just too pathetic and unsympathetic. By the time of the play’s climatic scene I had become so disengaged I really could have cared less at what was happening on stage.

Director Ian Rickson tries to keep the actors busy with bits of buffoonery and heightened promulgations but, in the end, with the characters ruminating and examining their meager lives there’s not much Rickson can do to breathe life into the production.

Jerusalem, three hours of blather better spent elsewhere.

Review of "Wonderland"

2011-04-17T19:14:00.000-07:00

Take the Lewis Carroll classic, Alice in Wonderland, add some sass and attitude and you have a thumbnail sketch of the new, entertaining, somewhat muddled musical, Wonderland. Entertaining because of the eclectic score by Frank Wildhorn and Jack Murphy which echo such familiar sounds as Carlos Santana’s guitar riffs (“Go With the Flow”) and boy groups ‘N Sync and Backstreet Boys (“One Knight”), along with some high octane rockers (“The Mad Hatter” and “I Will Prevail), as well as typical Wildhorn-Murphy power ballads (“Once More I Can See”). What makes Wonderland different from some of their past efforts, like Jekyll and Hyde and Dracula, is less grandiose, over-the-top compositions and more diversity and sustained tunefulness of the score. As the host of a Broadway music radio program I would have no problem playing over half the songs on my show.

This Wonderland plays off themes of believing in oneself, togetherness, and recapturing one’s childhood. The story starts off in Queens, New York with Alice, a harried working mother, who has marital problems, a young, precocious child and an overbearing mother-in-law to contend with. After a hard day at her teaching job she falls asleep on her daughter’s bed where she awakes to, yes, the White Rabbit running through the bedroom. Following him down the freight elevator of her apartment building she finds herself among the creatures and characters of Wonderland. Alice, played with an endearing edginess and determination by Janet Dacal, just wants to find her way home a la The Wizard of Oz. In fact, a lot about Wonderland emulates this Hollywood classic. Alice even has three friends to help her return—the Caterpillar; El Gato, the Cheshire Cat; and the frightened Cowardly Lion, I mean, White Rabbit. The Queen of Hearts is not the evil witch here. That honor is taken by The Mad Hatter, played with a menacing glee by Kate Shindle. She is Alice or is Alice she? This is where the book, primarily in the second Act, becomes a bit muddled. Where Act I breezes by with an assured sense of direction, adding some wit, humor and topical references, i.e. “The Tea Party” movement, the second half of the musical has trouble finding its voice. Does it want to be a merry romp through Wonderland? An action-packed chase to rescue the damsel in distress? A cerebral meditation? Or, maybe a dominatrix-led funhouse? Or a combination of all of the above? The problem is Director Gregory Boyd is also the bookwriter for the show. A Director without the additional responsibility for the libretto might have tightened up the loose ends or had the gaps in the show filled-in to make the scenes on stage flow less haphazardly. Director Boyd adds pace to the production as well as allowing the more tender moments to play through, but Wonderland seems more a series of individually structured moments as opposed to a more cohesive whole.

What does work quite well are the video projections utilized throughout the musical to augment the show’s sets and whimsical costumes. I’m not a great fan of such a system—when they don’t work properly the whole show suffers--but for Wonderland, Sven Ortel’s psychedelic renderings are a perfect fit to the mind altering mood and atmosphere the creative teams wants portrayed.

The cast is uniformly sound with Dacal, as Alice, and Shindle, as the demented Mad Hatter, the standouts, along with young Carly Rose Sonenclar, as Alice’s daughter, Chloe. Her powerful singing voice was a true highlight of the musical. It was unfortunate she one had a few opportunities to show-off her talent. Darren Ritchie as Jack the White Knight provides the requisite heroic testosterone, and Karen Mason, the necessary comic relief as the Queen of Hearts. Marguerite Derricks’ choreography was underwhelming with just a few flashes of distinction and nuance.

Wonderland, a solid musical effort that is more consolation prize instead of sure fire hit.

Review of "Catch Me If You Can"

2011-04-10T19:09:00.000-07:00

I have to give credit to the creative team for their concept of the new, problematic musical, Catch Me If You Can, based on the true life story of young con-artist, Frank Abagnale, Jr., familiar to many from the 2002 Steven Spielberg movie of the same name. Combining a 1960’s television variety show format with a straight ahead narrative structure, Catch Me If You Can starts off with promise and pizzazz. The musical opens at the end of the story with flimflammer Abagnale, played with vitality and nervous energy by Aaron Tveit, surrounded by F.B.I. agents in an airport passenger lounge. As they begin to close in Abagnale’s gilded tongue attempts, once again, to talk his way out of a no-win situation. Stepping out of character, he implores F.B.I. agent Carl Hanratty, a baffled and bewildered Norbet Leo Butz, to listen to his story. Before the agent has a chance to reply, the waiting area slowly transforms into a variety show setting, complete with Hullabaloo styled dancers and an onstage orchestra clad in white dinner jackets. In the energetic production number that follows, “Live in Living Color,” a bouncy, tuneful and exhilarating way to start the show, the young schemer begins to unfold his tale.

Unfortunately, that’s about as good as it gets as Catch Me If You Can’s narrative structure, ricocheting between the dream-like, showbiz razmataz world envisioned by Frank, Jr. and the traditional musical, story telling structure fail to mesh into a cohesive whole. The book, as written by Terrence McNally, requires too much exposition to the audience by Tveit’s Abagnale. Breaking the fourth wall is fine, but when the device becomes overused the flow of the production stalls. Being, essentially, a chase around the globe to apprehend the conman, there is a lot of running here and there which unnecessarily handcuffs Norbet Leo Butz as the tired, frazzled F.B.I. agent in charge of the case. Only during the song, “Don’t Break the Rules,” is the actor afforded the opportunity to break free from the exasperated Hanratty role and really demonstrate his musical comedy chops.

Looking to focus less on the pursuit, the relationship between Frank, Jr. and Frank, Sr. is heightened in order to humanize the characters and give the audience an emotional core. However, the interplay between Tveit’s Frank, Jr. and Tom Wopat’s Frank, Sr. lacks a passionate resonance, which flattens their encounters. Wopat is too aloof and reserved. Emotions are not his character’s strong point and the results produce disconnected interactions between father and son that doesn’t envelope the audience and its sympathies. Kerry Butler, as Frank Abagnale’s fiancé, Brenda Strong, finds herself in a role that underutilizes her well-honed skills as a musical theater actress. Her one shining moment, the power ballad, “Fly, Fly, Away,” near the end of the production seems more like an afterthought.

Aaron Tveit, pinging across the stage masquerading as an airline pilot, a doctor and lawyer, has the good looks, powerhouse voice and dancing agility to make him a star. Regrettably, Catch Me If You Can is not the vehicle. Personally, I think he would be a boffo J. Pierpont Finch in the revival of How to Succeed in Business, playing just a few blocks south.

The songs by Marc Shaiman and Scott Wittman, the composer and lyricist behind the hit, Hairspray, is such a disappointment. Instead of tuneful melodies that might emulate the go-go 60’s, we are supplied with a serviceable score that functions more to move the plot along then entertain and celebrate the wild ride we expected from the show’s onset.

Director Jack O’Brien cannot seem to remedy the inherent problem with the musical’s structure, which bounces from carefree bantering to emotive, soul-searching scenes. The result is more a hodgepodge then a unified vision.

Jerry Mitchell's choreography has two rousing and spirited numbers, mentioned above, but the remainder of the musical's dances becomes more perfunctory as the show progresses.

Sporadically entertaining, Catch Me If You Can, more low cost carrier then jet airliner.

Review of "Anything Goes"

2011-04-04T18:04:00.000-07:00

Sutton Foster is clearly the star of the understated, occasionally high-octane revival of Anything Goes. Foster has demonstrated year-in and year-out that she is one of the best musical comedy comediennes on Broadway. Her powerful, multi-octave voice, athleticism, and dizzying dancing skills add luster to any production featuring her. As nightclub singer Reno Sweeney, in Anything Goes, she adds one more Tony worthy performance to her repertoire.

However, one could argue, the real star of the show is the Cole Porter score which includes such classics as “I Get a Kick Out of You,” “You’re the Top,” “Friendship,” “It’s De-Lovely,” and “Anything Goes.” And that’s just in Act One! Many of the songs are lovingly presented with just two performers out in front of the mammoth cruise ship set, singing and dancing. Unlike the current revival of How to Succeed in Business, where busyness is the norm in all the musical numbers, Anything Goes’ Director/Choreographer Kathleen Marshall focuses on the songs and performers. At times I hoped a chorus line would materialize onstage, but that would have been a distraction and taken away from the very essence of Porter’s ballads and comedic duets. At the end of Act One the musical finally does deliver a full-blown, intoxicating tap dancing extravaganza by the entire cast. I think, at its conclusion, the audience was just as wired at the actors on stage.

The second Act continues with a spirited production number by Sutton Foster and the cast of “Blow, Gabriel, Blow” and then, for the most part, settles down to sort out the silly plot lines of the book. The libretto by P.G. Wodehouse, Guy Bolton, Howard Lindsay and Russell Crouse, with new material by Timothy Crouse and John Weidman, is typical of 1930’s musicals where the storyline is secondary and the jokes can make you wince. In Anything Goes, which takes place about a transatlantic cruise ship, there’s the requisite mistaken identities, seemingly unrequited love of the two young protagonists, and a happy ending where all loose ends are magically resolved and true love wins out for everyone .

Colin Donnell as the debonair, sure-minded, Billy Crocker and Laura Osnes, as the flustered debutante, Hope Harcourt, are fine as the two lovers trying to come together. They look good together and even though their relationship is complicated by Harcourt’s impending marriage to Lord Oakleigh you know the couple will eventually end up in each other’s arms. Seventy-nine year old Joel Grey, is at his impish best as Public Enemy Number 13, Moonface Martin. Grey can still nimbly cavort around the stage and hold his own against his much younger mates.

Martin Pakledinaz’s costume designs add a lushness and elegance to the show, richly bringing out the high style swankiness of transatlantic travel.

Director/Choreographer Marshall is at her best staging the large dance numbers, but also gently caresses the more low volume ballads. She keeps the large cast engaged and in step as they basically move into position for the next Cole Porter delight.

Anything Goes, a musical theater classic, now setting sail from the Stephen Sondheim Theatre on Broadway.

Review of "The Book of Mormon"

2011-04-03T19:29:00.000-07:00

Trey Parker and Matt Stone, the men behind Comedy Central’s long-running animated hit, South Park, have regularly incorporated elements of musical theater into their outrageously funny creation. Now, they have invaded Broadway and, along with Avenue Q veteran, Robert Lopez, have written the book, music and lyrics to the uproariously entertaining, sometimes provocative musical, The Book of Mormon.

Anyone familiar with Parker and Stone’s work knows that some of the characters will be foul-mouthed and situations will be compromising and irreverent. The Book of Mormon delivers on all counts…and more. The production pokes fun at, gently mocks, and occasionally skewers Mormonism, but never maliciously. The premise of the musical is simple enough. Two mismatched Mormon missionaries, hoping for a plum missionary assignment are, instead, assigned to Uganda and shipped off to rescue the souls of this African nation. Andrew Rannells, is the handsome, squeaky clean, tightly wound idealistic member of the twosome. Josh Gad, a dumpy, disheveled, loud mouth liar is his unlikely partner. Together they enter a world of poverty, AIDs, warlords, and indifference by the villager’s they are charged to save. Of course the harebrained solution to convince their disinterested flock to see the light is, in typical South Park fashion, off the wall and absurd, but would you expect anything different?

The book and score veer from good-natured sweetness, as with the opening number, “Hello,” to the wildly subversive “Spooky Mormon Hell Dream” production number where Hilter; Genghis Khan; serial murderer, Jeffrey Dahmer; and O.J. defender, Johnny Cochran sing and dance. The creative triumvirate pays homage to Broadway’s past with a vulgar take-off of “Hukuna Matata” from The Lion King, “Hasa Diga Eebowai;” and an equally inappropriate send-up of the “The Small House of Uncle Thomas” from The King and I, “Joseph Smith American Moses.”

The score is surprisingly tuneful and inventive. The direction is crisp and sure-footed, with a dash of zaniness.

The whole cast is top-notch. Besides Rannells and Gad, the musical’s male ensemble of missionaries must be acknowledged. These six actors are an integral part of the show. Led by Rory O’Malley as Elder McKinley, the group provides some of the most hilarious, belly-laughing moments of the musical. Their clap-on, clap-off, tap dancing extravaganza in “Turn It Off” is priceless.

The Book of Mormon, a must for South Park fans as well as the rest of mankind.

National Tour of "Next to Normal"

2011-03-31T06:34:00.000-07:00

A mother with a bi-polar disorder and her family struggling with this paralyzing situation is the basis for the searing musical, Next to Normal. The national tour is playing at the Bushnell Center for the Performing Arts in Hartford, CT through Sunday, April 3, 2011.

The portrayal of a family at the precipice and how each member copes with their inner tensions, angst, and personal crises is riveting theater. Brian Yorkey’s libretto draws you into their individual anguishes, their setbacks, and small victories. It has been a long time since I have become so absorbed and emotionally involved with characters portrayed on stage.

All six actors are outstanding, which you would expect from a national tour, but do not always encounter. Each member of the company brings a strong intelligence and sensitivity to their role as well as a powerful singing voice to the Bushnell stage. Leading the cast is Alice Ripley, recreating her Tony Award winning role as the mother, Diana. Her performance is heartfelt and shattering. Also, to have a Tony Award winner leading a national company is a rare treat, one that should be taken advantage of by area theater-goers.

The raw energy and urgency of the rock-infused score by Tom Kitt and Brian Yorkey amplifies the edginess and distress on stage. The music and lyrics convey the hurt, desperation, and even hope by the characters and demonstrates why the show’s score beat out Billy Elliot for the 2009 Tony Award for Best Score.

Director Michael Greif coaxes heart-wrenching performances from each actor as he slowly builds the emotional level of the show to its ultimate climax. He works in perfect tandem with Mark Wendland’s multi-level set, with its chain-linked motif an apt metaphor for the prison-like, caged feelings of the protagonists.

Next to Normal, musical theater at its best. At the Bushnell Center for the Performing Arts in Hartford, CT through Sunday, April 3, 2011.

Review of "How to Succeed in Business"

2011-03-27T16:36:00.000-07:00

The question that most theater-goers want answered this Broadway season is can Daniel “Harry Potter” Radcliffe sing and dance? Radcliffe, starring in a revival of How to Succeed in Business Without Really Trying, does display a serviceable singing voice and, especially in the musical’s climatic production number, “The Brotherhood of Man,” demonstrates he can hold his own with more seasoned dancers. However, the more important question is can the young actor shoulder the responsibility for propping up a big time Broadway musical comedy. Sadly, the answer is no. The revival of Frank Loesser’s Pulitzer Prize winning classic falls flat, primarily because of Racliffe’s stilted performance as J. Pierpont Finch. Instead of a wily, charming rascal, scheming to quickly climb the corporate ladder, we get a young, too-eager-to-please lad almost apologetically moving up the executive ranks of the World Wide Wicket corporation. Don’t get me wrong. I am a huge Daniel Radcliffe and Harry Potter fan, but this production was not the appropriate showcase for his talents.

Now let me stop my review for just a moment. If you a) excitably want to see Daniel Radcliffe live and b) haven’t been to many Broadway musicals in your lifetime then you might, indeed, be entertained by the show just like the hundreds of high school students—many from Wisconsin--in the mezzanine the night I saw the production. For those of you in this category, stop reading now and go to broadwaybox.com or some other discount ticket site to purchase tickets. If you are not a Harry Potter fan or attend New York theater on a regular basis, then read on…

Radcliffe is only part of the problem for this sometimes misguided production. Another huge drawback is the casting of John Larroquette as World Wide Wicket President, J.B. Biggley. Biggley is normally portrayed as the straight man, playing off the other characters to humorous effect, but Larroquette, an award winning comedic actor, becomes more a buffoon in the revival as opposed to a pompous man of industry—there is a big difference. This undersells his portrayal while at the same time diverting more attention on him during his scenes.

I don’t totally fault Larroquette, but the Director/Choreographer, Rob Asford. His vision for the musical undermines its very essence, primarily with Radcliffe and Larroquette. As choreographer he creates too much busyness in scenes seemingly to overly dress-up a number or not trusting the material as written or both. This is exemplified in the First Act duet, “The Company Way,” set in the World Wide Wicket mailroom. Instead of Radcliffe’s Finch and Rob Bartlett’s Mr. Twimble just warbling through this very funny song, Ashford has the two prancing about the stage while they stamp envelopes, throw packages, and maneuver through rolling mail carts, all the while darting in and out of the chorus of dancers. Near the end of Act I, in what should be the big romantic moment between Finch and Rosemary, played with a sweet wholesomeness by Rose Hemingway, the director feels a flurry of pirouetting dancers appearing from behind a couch is necessary. Maybe the decision was to distract the audience from the total lack of chemistry between the two would-be lovers.

Derek McLane’s sets had me scratching my head, as they veered from minimalistic, with sliding decorative screens to unnecessary extravagance, as exemplified by Finch’s multi-level office in Act II. What was the point?

Was there any part of the show that hit the mark? The supporting characters did shine especially Christopher Hanke as the plotting mama’s boy, Bud Frump; and Mary Farber as the wise-cracking, Smitty. The Frank Loesser score is chock full of great songs, unfortunately undersold by the passable singing voices of many of the leads.

The revival of How to Succeed in Business Without Really Trying, now on Broadway. Rent the movie version with Robert Morse and Rudy Vallee instead.

Review of "That Championship Season"

2011-03-06T16:38:00.000-08:00

Loyalty, friendship, trust, and personal self-worth are the underlying themes set forth in the revival of the 1972 drama, That Championship Season. Set in a small Pennsylvania town, the show revolves around the 20th reunion for the players of the state championship high school basketball team. The five protagonists attending include Chris Noth, now the well-heeled, yet morally corrupt, town bigshot; Jim Gaffigan, the banal, self-important buffoon, running for re-election as mayor; Kiefer Sutherland, as a meek, unassuming Junior High School principal; Jason Patric, an unrepentant alcoholic; and Brian Cox, their fiery, bigoted, and anti-Semitic coach.

As the play unfolds the former teammates and their coach are all smiles and backslapping horseplay. Liquor flows continuously, lubricating the simmering conflicts and intense feelings about to bubble to the surface. They are celebrating and reliving old times but, as the evening unfolds, they are also transfixed by the mayor’s re-election campaign. The good times soon disintegrate as talk of the campaign, shifting political alliances, infidelity, and personal crises and demons come to the forefront. All along the coach, who has dictated their lives since their high school days, tries to keep his team together, using whatever methods he deems fit—from cajoling to pleading to outright threats. He is in command; he is still running the plays.

That Championship Season is more a meditative work, sometimes crackling with energy and explosiveness. But these are tired men with deep-rooted feelings of inadequacies and self-esteem. They are scornful and feel trapped in their small-town environment. Think of a more sardonic George Bailey from the movie, It’s a Wonderful Life. Their conversations are not necessarily addressed directly to each other as if they truly care about what someone is saying.; as if these were close friends genuinely interested in each other’s lives.

All five performers are first rate. Jim Gaffigan, making his Broadway debut, uses his comedic talents to humanize his character, but he is no slouch as the dramatic tensions begin to build. Kierfer Sutherland, playing against type—no super agent Jack Bauer here—is very believable as a milquetoast, self-pitying principal whose grandiose plans for himself are saddeningly heartbreaking. Chris Noth, while his overall performance was fine, seemed to occasionally be going through the motions with his character, something director Gregory Mosher should have firmed up. Jason Patric is superb. He lingers in the background for much of the production as he continually refuels his alcoholic needs. He is the soul of the group, speaking infrequently, but honestly and puncturing the hypocritical talk throughout the evening. Brian Cox, the coach, is the glue that holds the show together. He veers from the congenial host, continually urging everyone to have another drink as if that would solve all the night’s problems to panicked manipulator attempting to restore a warped sense of calm and serenity to the unfolding chaos. He clings to the vestiges of his past life as well as his control over the now grown men. They are all he has left in a world that has repudiated his heroes--Father Coughlin and Senator Joseph McCarthy—and pushed him, his hatreds and prejudices, aside.

Director Gregory Mosher lets the action unfold at a more layered, organic pace which works, for the most part, but does drag towards the end of Act II. He allows the actors to fully realize their roles without a lot of histrionics or theatricality.

That Championship Season, a revival that still resonates today.

The Broadway Musical - An Endangered Species?

2011-01-17T18:42:00.000-08:00

Have you taken the time to look at what new Broadway shows this season are still playing? Just as important, what about the productions that have already closed? Right now there are six, yes just six, shows still running (I’m not counting Time Stands Still since that was part of the 2009-2010 Manhattan Theatre Club season). What are the six survivors? Only one musical, if you can call Rain, a tribute to The Beatles, a musical; Colin Quinn’s one man show, if you call 80 minutes a real show; three well-received revivals (Driving Miss Daisy, The Merchant of Venice, and The Importance of Being Earnest); and one original drama, Lombardi. That’s it. Lombardi, by the way, is the sole production that is open-ended. The other five are limited runs.

Twelve other productions – musicals, comedies, and dramas—have all come and gone since September. To be fair, many of these shows were limited runs. However, even some of the limited-run productions ended early (A Life in the Theatre and La Bete). Only one, Elling, was an out-and-out disaster. Scanning through the first half offerings what is most noticeable, and discouraging, is all three new, original musicals (counting Off-Broadway transfers) came and went in the blink of an eye. Women on the Verge of a Nervous Breakdown, with one of the most star-studded casts of the 21st century, received lackluster reviews and, while one of those limited-runs, closed early; Bloody Bloody Andrew Jackson, while intriguing and variably entertaining, was more of a downtown show and should have stayed there; and The Scottsboro Boys, a controversial, yet artistically satisfying production retelling one of the most abhorrent episodes in recent American history. It limped along for only 49 performances (not the worst in the Kander and Ebb catalogue. That belongs to their 1971 production, 70, Girls, 70 which ran for a paltry 35 performances).

Does the quick demise of these three musicals, plus the somewhat varied morsels still playing have some larger meaning? Or is this just an off-season, an aberration, so far? It depends on how you want to examine the patient known as The Great White Way. If we take a snapshot in time right at this moment then, yes, this season can be described as bleak. If, on the other hand, we wait until May 2011 and look at the entire 2010-2011 Broadway season we may shrug off these early months. In fact, “potentially” (especially with musicals) this could be one of the best years on Broadway in recent memory. Look what’s waiting in the wings:

Original Musicals

Catch Me If You Can – based on the movie with a score by Marc Shaiman and Scott Wittman, their first Broadway outing since Hairspray.
Sister Act – yes, based on the movie, transferring from London with a disco-infused score.
Spider-Man – already a certified smash even though it hasn't officially opened, but will set the record for number of preview performances, delayed openings, and number of actors injured.
The Book of Mormon – from those crazed South Park creators, Trey Parker and Matt Stone.
Wonderland – a new Frank Wildhorn composed show based on Alice and the gang.

Revivals

Anything Goes – The best Cole Porter score wrapped around the sensational Sutton Foster. A marriage made in heaven.
How to Succeed in Business – two words: Harry Potter. Can Daniel Radcliffe sing? Dance?

One part of me, being the hopeless optimist, will wait to pass judgment until later this spring. To throw in a sports analogy, I hate it when broadcasters write off a team’s chance for success halfway through a season. Who knows? I could be waxing poetic about the incredible number of high caliber musicals that have energized Broadway. The Tony Award for Best Musical could be a real dogfight. Conversely, the realist in me views the past few months as truly depressing and dismal. When is the last time there were no new musicals heading into the winter months? I can only hope that what we’ve witnessed, thus far, is more an anomaly; less a trend then a departure from the norm.

Review of "Bloody Bloody Andrew Jackson"

2010-11-21T17:30:00.000-08:00

Raw is an apt description for the Broadway musical, Bloody Bloody Andrew Jackson. From the performances to the sets the show has an unrefined, coarse feel as it breezily covers the life of our 7th President. Part history lesson and part rock concert, this boisterous show has resonated with audiences due to Jackson’s life and persona. Here was a man outside the Washington, D.C. mainstream, not part of the D.C. elite of John Quincy Adams and Henry Clay. Jackson was a man of the people—a real populist President. The show doesn’t start with the anthem, “Populism, Yea, Yea” for nothing. Can anyone say Tea Party?

The musical treats Andrew Jackson as a rock star, which may sound like a stretch in describing someone from the early-19th century. However, according to Jackson’s Pulitzer Prize winning biographer, John Meacham, “the Jackson movement was to American politics in the 1820’s and 30’s what rock ‘n’ roll was to American culture in the 1950’s and 60’s: young, raw, unsettling.”

Embodying the spirit of the title character is Benjamin Walker, who portrays Jackson as a real rock star. He struts around the stage in tight black jeans exuding charisma and sex appeal. One of his big numbers is simply entitled, “Rock Star.” Walker’s Jackson is a rebel rouser, war-like, and childish. As with the rest of the cast there is a slightly unpolished edge to the performance.

The score by Michael Friedman is loud, raucous yet tuneful with a sprinkling of heartfelt ballads mixed in throughout the show. The actors don’t just sing the songs, but more attack them.

The 90 minute, intermission-less musical, with a book by Alex Timers, who also doubles as director, glosses over Jackson’s life, focusing on his pre-Washington, D.C. days in his native Tennessee, his bloody assault on American Indians, and his years in the White House. At times satirical and mocking, the show sometimes has the feel of a rambunctious college show, rough yet passionate. For such a short length Bloody Bloody Andrew Jackson does drag towards the end as he finally attains the Presidency of the United States. The earlier plateau attained by the cast just can’t be maintained at such an exuberant level.

Still, even with its sporadic shortcomings Bloody Bloody Andrew Jackson enlivens and entertains, while at the same time affording the opportunity to showcase the talents of a new generation of Broadway artists.

Review of "The Scottsboro Boys"

2010-11-14T06:25:00.000-08:00

One of the most abhorrent episodes of injustice during the 20th century was the arrest, subsequent trials, and imprisonment of nine black youths, falsely accused of raping two white woman in 1930’s Alabama. Their story is the basis for the new Broadway musical, The Scottsboro Boys, which employs the construct of the minstrel show as a method to tell this contemptible story. Much has been written about the controversial use of the minstrel show in the production. Minstrel shows, a mainstay of popular entertainment in the latter half of the 19th century as well as the early part of the 20th century, promoted racial stereotypes of African-Americans and is now seen as an offensive and repugnant art form. However, by utilizing such a highly charged and contentious vehicle to relate this woeful tale the creators of the musical--the composing team of John Kander and Fred Ebb, along with librettist David Thompson and director/choreographer Susan Stroman—have been able to focus a searing spotlight on this tragic episode that helped to spark the civil rights movement in the United States.

Since most theater-goers would probably be unfamiliar with the infamous case as with the minstrel show itself, the show’s producers have included a short, well-written insert in every Playbill. The four page brochure gives context and insight to the Scottsboro legacy.

The staging of the show is simple, yet powerful with just a few chairs and some wooden planks for sets. This allows the story to unfold without any unnecessary distractions. Most of the talented cast play multiple roles and they work together as a finely tuned ensemble. The main standout is Joshua Henry as the principled and fiery, Haywood Patterson. Also notable are Colman Domingo and Forrest McClendon portraying the minstrel show stalwarts, Mr. Bones and Mr. Tambo. They play a number of outrageous and cartoonish characters that serve to both accentuate and mock this miscarriage of justice.

Director Stroman keeps the movement fluid and pulsating, only lagging slightly about two-thirds through the intermission-less production. As choreographer, she conveys the urgency and tension the nine Scottsboro boys are experiencing.

The score, one of the last for the long-time team of John Kander and Freb Ebb, while not one of their best still shows them at the top of their game and, as they have done on such musicals as Cabaret and Chicago, that they are unafraid to tackle provocative topics.

Interestingly, with all the passion and compelling moments on stage there is a more emotional detachment with the characters and their plight. We are not uncompassionate, just the opposite. However, as the action unfolded I found myself as someone looking in, an observer, as opposed to becoming more emotionally involved. Is this a detriment to the musical? Not totally, but a more impassioned connection with the actors could have elevated the production to a different level.

The Scottsboro Boys will challenge you and be uncomfortable at times—sometimes you don’t know whether to laugh or cry--but its message and inspired presentation make it a worthwhile and rewarding theatrical event.

Review of "A Life in the Theatre"

2010-11-06T14:37:00.000-07:00

A tame and lackluster David Mamet? For audiences use to his gritty landscaped and expletive-filled productions such as American Buffalo and Glengarry Glen Ross, the revival of A Life in the Theatre is downright civilized.

The two character play revolves around Robert, the aged actor, played wonderfully by Patrick Stewart; and the younger actor, John, played with buoyant enthusiasm by T.R. Knight. The thrust of A Life in the Theatre is the relationship between the two thespians. Robert, subtlety and at times indirectly, begins to impart nuggets of advice from his years of experience in the theater to the youthful, unseasoned John. Over the course of the one and one-half hour intermission-less show the bond between Robert and John strengthens, but then takes a new direction as John becomes more confident with his acting skills and place in the theater. Other opportunities begin to come his way and, consequently, their relationship flip flops as Robert begins to languish in John’s shadow.

The problem with A Life in the Theatre, and there are many, begins with the chemistry, or lack thereof, between Patrick Stewart’s Robert and T.R. Knight’s John. While both men are fine actors, these are not meaty roles they can sink their teeth into. Their evolving relationship never materializes into anything we care about. The emotional connection with the audience is non-existent. T.R. Knight is too self-assured right from the start so the equilibrium between the two is never off-balance.

The play is presented as a series of short, sometimes very short, blackouts. Some of the vignettes are ten minutes in length while others are just a minute or two (I think I clocked on scene at 30 seconds). I lost count after 12 or so even though I did read somewhere there are 26 blackouts. A scene would end, the stage crew would either remove or push into place some scant scenery, the two actors would return to the stage, and the process would repeat itself. This device fractured the flow of the production, never allowing it to find its rhythm. Director Neil Pepe does a fine job orchestrating the comings and goings on stage, but Mamet’s script doesn’t allow him to do any more or less.

A Life in the Theatre is more a valentine to the theatrical world. There is a lot of dressing up in the show—each man gets to try on an assortment of costumes, wigs, and facial hair, as well as employ a number of accents throughout the production. But with its paper thin quality, lack of chemistry, and fragmentary structure, A Life in the Theatre is one theater class you can skip.

Half-Priced Tix Booth Availability

2010-11-02T06:45:00.000-07:00

When I travel to New York City for a show I make sure to arrive with plenty of time before the opening curtain. Besides grabbing a bite to eat I like to poke in and out of the gaudy Times Square shops and wander over to the half price ticket booth at Duffy Square at 47th and Broadway to see what’s up on the board. To my surprise, when I was in the city last week for a double helping of Bloody Bloody Andrew Jackson and A Life in the Theater (reviews to be posted soon), I was amazed at the abundance of productions one could choose from. They included A Little Night Music, American Idiot, Driving Miss Daisy, Fela, In the Heights, La Cage Aux Folles, Mary Poppins, Memphis, Promises, Promises, and Phantom of the Opera. Even such blockbusters as Billy Elliot and The Addams Family had tickets available. Most tickets were discounted by 50% (some were 30%). So, one begs to ask, why the plethora of musicals and plays to choose from?

The most obvious answer is the still unsettled economy, which has a cascading effect downward on discretionary spending—as in costly theater tickets. Less money to spend produces a lower demand for full-priced tickets at the box office, which translates to more tickets being available at the half priced booth.

There are also more seasonal factors to consider. October through early December (discounting Thanksgiving week) is the beginning of the annual slowdown for New York theaters. Tourists are in shorter supply and the weather is beginning to become colder and more unpredictable. Lastly, Tuesday, Wednesday, and Thursday evenings are less attended then the weekend performances.

So, what does this mean for the average theater-goer? Based on my unscientific research of one night’s postings at the Duffy Square Booth I would suggest now is a good time to take in a Broadway show. Yes, the lines can look long, but they move quickly. I have almost always met the most interesting people in the queue—both out-of-towners and well as foreign visitors—which makes the waiting time fly by. Many productions on Tuesday nights have a 7:00 p.m. start time and, therefore, an earlier completion. This makes for a more reasonable bedtime, especially for us older attendees. With a few of the recently opened shows lasting only 1 ½ hours (no intermission), a Tuesday night out is more in the realm of possibilities.

Some words of advice--aways have at least three choices of shows in mind before stepping up to the window to purchase the reduced tickets. Why would this be necessary if your first choice is listed on the constantly changing sign boards surrounding the booth? Availability only means seats are on-hand. The type of seats can vary from center orchestra to the far sides of the theater to the rear mezzanine. Therefore, it’s important to make sure you ask about location before you hand over your payment (which does now include credit cards). If side orchestra seats are offered I would suggest nothing higher then seats 13 or 14 (the aisle seats, depending on which side of the theater, will start with 1 or 2. Count over from there -- 1, 3, 5, 7, 9, etc. or 2, 4, 6, 8, 10, etc. The higher the number the more to the side you will sit). The attendant may be a bit gruff by all your questions since he or she wants the line to keep moving and doesn’t want to spend precious time haggling or explaining, but don’t be intimidated. It’s your money. I had friends that just went in to see Fela and they didn’t ask. They ended up being so far on the right side of the orchestra the show was hard to enjoy. They should have simply gone to their second choice.

So, if you have the time, the money, and the inclination this is probably one of the better times to head to NYC for a taste of Broadway (or Off-Broadway, also sold at the Duffy Square location).

Review of "How to Succeed in Business"

2010-10-24T17:50:00.000-07:00

Frank Loesser has penned some of the most memorable and melodic scores in Broadway history, including Where’s Charley, Guys and Dolls, and his 1961 Pulitzer Prize winning gem, How to Succeed in Business Without Really Trying, now receiving a spirited production at the Goodspeed Opera House in East Haddam, CT.

The satirical look at big business centers around J. Pierpont Finch, a window washer who, guided by the precepts in his handy guide, aptly titled "How to Succeed in Business," slowly rises to the top of the corporate ladder. The book of the musical is well-crafted, playful, and spiced with some humorous nostalgic references.

Brian Sears stars as Finch, but lacks the charisma and ingratiating personality necessary for the character to work. This is not to say that Sears is not a talented individual with a solid singing voice, but instead of rooting for him on his meteoric climb to the top there is more a feeling of indifference. The romantic subplot between Sears and Rosemary Pilkington, played with self-assured aplomb by a beautifully appealing Natalie Bradshaw, is listless and lacks any chemistry.

This is truly unfortunate since the entire supporting cast is superb, among them Erin Maguire as the sassy secretary, Smitty; Nicolette Hart as the sexy bombshell, Hedy LaRue; Tom Deckman as the scheming momma’s boy, Bud Frump; and Ronn Carroll as the boisterous president of World Wide Wickets, J.B. Biggley.

Director Greg Ganakas molds the large cast into a cohesive unit, beautifully incorporating Adrian Jones’ multi-functioning set into the flow. Jones’ scenic design deserves a special nod as they evoke a cool 1960’s modernist style that never overpowers the show. My one small complaint deals with the pacing of the production. At times it seemed a half step slow, missing a certain sense of liveliness.

Choreographer Kelli Barclay expertly maximizes the small space of the Goodspeed stage with wonderfully satisfying results. Her added flourishes to “Coffee Break,” for example, are inventive and highly rewarding.

Whatever the shortcomings of How to Succeed, and don’t let me give you the impression that the musical is not first-rate entertainment, there is always the Frank Loesser score where every song is a gem. From the opening notes of the title song to the comical duet of “The Company Way,” the flirtatious “A Secretary is Not a Toy,” the rah rah of “Grand Old Ivy,” Finch’s self-centered and mischievous ode to himself “I Believe in You,” as well as the rousing “Brotherhood of Man," my foot didn’t stop tapping during the entire show.

How to Succeed in Business Without Really Trying, playing at the Goodspeed Opera House through November 28th.

Review of "La Bete"

2010-10-17T13:40:00.000-07:00

I haven’t laughed this hard at a Broadway show for many, many years. The reason—the tour de force performance by Mark Rylance in the revival of David Hirson’s comedy, La Bete. Set in 17th century France, La Bete stars Rylance as Valere, an ill-mannered, self-centered, bumbling fool of a playwright and actor who, due to a royal decree, is thrust upon an in-house troupe of actors, led by highbrow playwright-in-residence, Elomire, played with equal hilarity by David Hyde Pierce. Elomire, to be blunt, despises the vulgar, no-talent Valere which, as the production unfolds, allows Hyde Pierce to unleash an invective tirade against his foe. And no one is better than Hyde Pierce in spewing forth a cascading torrent of insults.

Very shortly, however, Rylance’s Valere stumbles on to the stage where he delivers what is, in essence, a 25-30 minute stream of consciousness monologue that brings down the house. Hyde Pierce and Stephen Ouimette, as friend and colleague, Bejart, are helpless, or is that hapless, prisoners to the verbal somersaults and shenanigans of Rylance’s Valere, attempting throughout his demented discourse to garner a word in edgewise, to very limited success.

This dizzying display of theatrical wordplay and buffoonery sets the stage for the clash between the cultured, and somewhat snobbish, art of Elomire and the more populist appeal of Valere’s malformed creations. An underlying theme Hirson tackles in La Bete is the judgement of artistic worthiness—who is to say what is meritorious or not? In La Bete the anointed arbiter of art is the royal princess, played with regal and brattish delight by UK star Joanna Lumley. She craves the association with Elimore’s more cultivated troupe, but sheepishly enjoys the lowbrow plays of Valere. Through incessant prodding by Elimore the princess agrees to chose between the two.

Director Matthew Warchus once again demonstrates, as he did with recent Broadway comedies God of Carnage and Boeing-Boeing, his deftness and skill in working with a lively cast of characters. He keeps the show percolating. Unfortunately, while La Bete can be painstakingly funny the show’s overall momentum can only be sustained while Rylance is the center of attention with his unceasing blather and simpleminded merriment. There’s no way the comedic intensity that consumes the first 30 minutes of the production can be maintained. That’s not to say the intermission-less production is not entertaining. On the contrary, the show, with David Hyde-Pierce at his side-splitting best, and the rest of the cast game for, well, almost anything, La Bete provides a rollicking good time for theatergoers.

Top Ten for 2010-2011 Season

2010-08-15T18:04:00.000-07:00

The new Broadway season begins in a few short weeks. Unlike last year’s overall lackluster offerings, this year there are a number of productions I am highly anticipating. Of course, there is never a guarantee of an announced show, even the most high profile production, of opening (Can you say Spider-man, Turn Off the Dark?).

Below is my Top Ten list. Mostly musicals, the list includes shows with powerhouse casts, a taste of Star Trek, Harry Potter singing, a couple of superheroes, and a bit of Pee-Wee for good measure. Here, now in alphabetical order, the Broadway productions I most want to see.

A LIFE IN THE THEATRE
I am not a huge David Mamet fan, but his A Life in the Theatre is uncharacteristic Mamet meaning the characters are not cursing ever other word. More importantly, I am a huge Star Trek fan so the Broadway premiere of Mamet’s drama, which stars Jean-Luc Picard, I mean Patrick Stewart, and T.R. Knight from Grey’s Anatomy, is something to rejoice. Seriously, Stewart’s appearance on the Broadway stage is few and far between so his return is most welcome. Beam me up for this one.
First Preview: scheduled for September 23, 2010
Scheduled opening: October 12, 2010
Special note: This is a limited run with a scheduled January 2, 2011 closing.

ANYTHING GOES
One of my top ten (maybe five) musicals of all-time is the 1987 revival of Anything Goes with Patti Lupone and Howard McGillin. The casting was perfect, the Cole Porter tunes, the staging, everything was just so right. I remember getting goose bumps during the overture. So, why would I include an upcoming revival of a musical that I hold so near and dear? Two words: Sutton Foster. If there is an actress tailor made for the role of Reno Sweeney then it is the multi-talented Ms. Foster—actress, singer, comedienne, and dancer. It’s almost like most of her other starring roles in past Broadway musicals—Thoroughly Modern Millie, The Drowsy Chaperone, and Shrek (but not Young Frankenstein where her talents were so wasted)—have been preparation for her star turn in Anything Goes.
First Preview: scheduled for March 10, 2011
Scheduled opening: April 7, 2011

DRIVING MISS DAISY
Last season Denzel Washington recreated one of James Earl Jones signature roles, that of Troy Maxson, in a revival of August Wilson’s drama, Fences. So, happily (coincidentally?) Jones is returning the favor by heading back to the stage in a revival of Alfred Uhry’s Pulitzer Prize winning play, Driving Miss Daisy. But James Earl Jones is just one part of the dream cast for this production which will also be starring acting legend, Vanessa Redgrave and four-time Tony winner Boyd Gaines. I can’t wait for the acting master class to begin!
First Preview: October 7, 2010
Scheduled opening: October 25, 2010
Special note: This is a limited run with a scheduled January 29, 2011 closing.

ENTER LAUGHING
One of the highlights from the 2008-2009 theater season was the Off-Broadway production of the musical Enter Laughing at the York Theatre Company. The show, 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. A Broadway run has been announced for 2010-2011, but little else has been revealed. I am assuming Grisetti will once again star as the stage struck teenager trying to break into show business, especially since his Broadway debut, in Broadway Bound last year, was derailed. It would be great if members of the York production also made the trip to Broadway. That cast included Jill Eikenberry, Michael Tucker, Marla Schaffel, and Bob Dishy and they were terrific.
First Preview: To Be Announced
Scheduled opening: To Be Announced

HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING
In addition to being a Trekker I am a huge Harry Potter fan so I was intrigued, as well as excited, when it was announced that Daniel “Harry Potter” Radcliffe would be making his Broadway musical debut in the 50th anniversary revival of Frank Loesser’s, How to Succeed in Business Without Really Trying. He has big shoes to step into, following in the footsteps of Robert Morse (1961) and Matthew Broderick (1995). Can the teenage Gryffindor sing? Will his J. Pierrepont Finch have an American accent? Will he be an English lad on assignment at the World Wide Wicket Company? Maybe the “Coffee Break” will be replaced with a friendly inter-office game of Quidditch? Radcliffe wasn’t much of a dancer at the Triwizard Tournament Ball, but that will probably change with Director/Choreographer Rob Ashford at the helm. BTW, did I mention the luscious Frank Loesser score?
First Preview: February 26, 2011
Scheduled opening: March 27, 2011

IT’S A BIRD, IT’S A PLANE, IT’S SUPERMAN
One of my favorite original cast recordings is the Charles Strouse/Lee Adams, It’s a Bird, It’s a Plane, It’s Superman. The fourth Broadway score from the duo—following their Broadway debut, Bye Bye Birdie; the flop, All-American; and the semi-success, Golden Boy. 1966—Superman was another dud for the team. Most people blame Batman. The enormously successful, campy television show opened around the same time and took the thunder from the musical. Still, the score is fun and tuneful.

Enter the Dallas Theater Center which mounted a slightly modified version this summer—revised book by Roberto Aguirre-Sacasa and some newly added songs—to very positive reviews. Starring Broadway’s Matt Cavenaugh, the word on the street is the production is looking north to Metropolis. Nothing firm. Just talk, for now. Let’s hope The Man of Steel returns for another try on The Great White Way. It’s big enough to handle two super heroes this season.
First Preview: Unknown
Scheduled opening: Unknown

LOVE NEVER DIES
Has it really been 22 years since The Phantom of the Opera opened on Broadway? The last of the over-sized London imports just keeps chugging along. Now comes the sequel—Love Never Dies, a continuation of The Phantom story set in Coney Island. Having already opened in the West End, to generally positive reviews, the Broadway version must overcome some discouraging history, namely sequels have not found much success on Broadway. The musical graveyard is filled with failed sequels, going all the way back to 1933 with the Gershwin’s Let ‘Em Eat Cake (sequel to Of Thee I Sing). Other flops on the sequel landscape have included Bring Back Birdie, The Best Little Whorehouse Goes Public, and Annie 2: Miss Hannigan's Revenge. Still, for the millions of us that have seen The Phantom of the Opera over the past 20 years, can we really resist his lure a second time?
First Preview: To Be Announced
Scheduled opening: April 2011

THE PEE-WEE HERMAN SHOW
I admit I am a huge Pee-Wee Herman fan--from the late 1980’s children’s show to his big screen escapades in Pee-Wee’s Big Adventure and Big Top Pee-Wee. So, I am both intrigued and enthusiastically expectant about The Pee-Wee Herman Show on Broadway. How will Paul Reuben’s man-child transform his celluloid persona to the live stage? Well, I’ll be in my chairy at the Stephen Sondheim Theatre to find out.
First Preview: October 26, 2010
Scheduled opening: November 11, 2010
Special note: This is a limited run with a scheduled December 5, 2010 closing.

SPIDER-MAN, TURN OFF THE DARK
Probably the most anticipated musical of the past few years. Spider-Man, Turn Off the Dark, should finally make its way to Broadway at the end of the year, now that all the financing is in place. Can the genius of Julie Taymor score a hit with Spidey in what will probably be the most expensive musical in Broadway history? And what about a score by U2’s Bono and The Edge? There have been rock scores in the past, but no group with the worldwide stature and appeal of U2 has ever written specifically for Broadway (I don’t count Tommy since it started life as a Who album; same with Green Day’s American Idiot). Lastly, let’s not discount the special effects and sets which will, again, probably be something we haven’t witnessed before on a New York stage.
First Preview: November 14, 2010
Scheduled opening: December 21, 2010

WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN
As Phil Rizzuto would cry, “Holy cow!” Patti LuPone, Brian Stokes Mitchell, AND Sherie Rene Scott all in the same cast? I can’t remember a Broadway musical with such star power in one show. Enough said!
First Preview: October 2, 2010
Scheduled opening: November 4, 2010
Special note: This is a limited run with a scheduled January 23, 2011 closing.

Will all these productions open this season? Probably not. Will those that do be hits? Again, nyet. Will there be other shows that will steal the limelight? Most indubitably. Stay tuned.

Review of "Zero Hour"

2010-08-08T16:46:00.000-07:00

Zero Mostel has always been one of my favorite actors. Even though I only saw him perform in a handful of movies, most notably The Producers, he seemed to come alive through his comic numbers or poignant ballads in the original cast recordings of both A Funny Thing Happened on the Way to the Forum and Fiddler on the Roof.

Bringing such an iconoclastic, bigger-than-life personality as Zero Mostel to life is no easy feat, but Jim Brochu, in his one man show, Zero Hour, thoroughly captures the essence of Mostel the comedian, actor, and painter.

The painting studio is the setting for the show as Mostel grudgingly sits for an interview with an unseen reporter. Actually, sitting would be the wrong word as Brochu, a large man himself, just like Mostel, is constantly in motion on the small stage at the Actor’s Temple Theater, an actual synagogue that rents out its sanctuary space part of the week as an Off-Broadway theater. Sparring with the reporter, peppering his answers with good-natured ribbing, we slowly get to know the Zero Mostel behind the exuberance and gaiety portrayed on stage and screen. We learn about his loving marriage to a Catholic woman, a move that exiled him from his highly religious, Jewish parents. Even on his mother’s deathbed she would not forgive his transgression. There is the beginning of his high-spirited and flamboyant career, first in nightclubs and then onto the stage.

The most moving and dramatic part of the 90 minute, intermission-less production centers around the Hollywood blacklist. Not only was Mostel ensnared in the hysteria produced by the hearings and recriminations of the House Committee on Un-American Activities and Senator Joseph McCarthy, but so were many of his friends and colleagues. Flourishing careers were snuffed out in a heartbeat while others committed suicide. The more fortunate actors, such as Mostel, were out-of-work for only a couple of years, but still shunned by many of his acting brethren. At one point during the show Mostel relives the seemingly doomed out-of-town tryouts of A Funny Thing Happened on the Way to the Forum. Brought in to fix the musical is Jerome Robbins, a man who named names to the Committee on Un-American Activities, sending many of Mostel’s friends on the path to oblivion. A pariah in the actor’s eyes, he agrees with producer Hal Prince to let Robbins work his genius to save the show, but not without delivering, at the first rehearsal, a blistering speech eviscerating the acknowledged director/choreographer for his past deed.

The back-story of Forum as well as his recollections of Fiddler on the Roof are just a small part of Zero Hour. There is no singing or dancing. The production is really about the Zero Mostel the public never knew—the suffering and tortured artist who, in reality, just wanted to be a painter.

Jim Brochu, who also wrote the show, eerily conjures up Mostel in both speech and girth. Friends in real life, Brochu serves himself well by not trying to recreate memorable moments from Mostel’s past that could easily turn into parody or self-serving aggrandizement. Instead, he keeps the audience enraptured with personal stories that captivate, enthrall, and charm.

Support an Off-Off-Broadway Musical

2010-07-25T17:03:00.000-07:00

My oldest daughter’s high school friend, Steven Mooney, stopped by today. He graduated this past May from the Musical Theater program at Marymount Manhattan College in New York City. Unlike many theater graduates across the country, he actually has a role in an upcoming New York musical. He has been cast in one of the New York Fringe Festival productions at the end of August. The show, entitled, I Don 3 U Ne Mor, is billed as “a musical comedy about humanity in the tangled cables of modern society... and zombies.”

In addition to rehearsals, costuming, lighting and all the other components of putting on a shoestring budgeted show, everyone involved has to pitch in to help raise funding. According to Steven, the way the festival works is they turn funding over to each of the shows. “We are required to raise a minimum of $3,000 before the festival itself will aid in our funding,” he said. “So we’re using a program, along with most of the other productions, called Kickstarter. This program enables us to reach out to friends and family and ask them to pledge a donation.” To pledge via Kickstarter you just need an Amazon.com payment account, which you can sign up for quickly if you don’t have one. No pledge is too small. In fact, you can even donate $1.00 to become an official Off-Off-Broadway backer. Just remember--these are donations as opposed to an investment opportunity. If the production does not reach its $3,000 goal your credit card is not charged.

So why not considering taking the plunge? Support the arts. Support the New York Fringe Festival. Support the ambition of a newly minted college grad.

Those "Hollywood" Types

2010-06-19T19:19:00.000-07:00

We are a society that loves to label people, usually with a negative connotation. He’s a Liberal. She’s a Conservative. Feminist. Jock. Geek. Environmentalist. After this week’s televised Tony Award ceremony a new label is now circulating through cyberspace – Hollywood, as in “they’re from Hollywood.”

Anyone who viewed the Tonys knows there was a heavy presence of A-List Hollywood actors, both in the audience and in the winner’s circle. Carrying away the prized medallion were Denzel Washington (Best Actor in a Play for Fences), Catherine Zeta-Jones (Best Actress in a Musical for A Little Night Music) and Scarlett Johansson (Best Supporting Actress in a Play for A View From the Bridge). It’s no wonder that a backlash against “those people” has been building. Actor Hunter Foster has even started a Facebook group, Give the Tonys Back to Broadway!! Over 6,300 people have joined.

But has Hollywood really taken over Broadway? This past season there were many actors more associated with the film industry on stage then in year’s past. However, while movie stars sell a lot of tickets they don’t always receive the accolades and awards. Were either Hugh Jackman or Daniel ‘James Bond’ Craig nominated for their performances in A Steady Rain? Antonio Banderas, while nominated in 2003 for a Best Actor in a Musical Tony for his performance in the revival of Nine, lost out to a theater stalwart, Harvey Fierstein. The list can go on and on.

More importantly to the discussion--is the Hollywood label even accurate or fair? Let’s examine a couple of high profile examples. First, Angela Lansbury. Would anyone doubt Ms. Lansbury is anything but a person of the theater? She’s won five Tonys. However, she came to the world of musical theater when she was just about 40 years old, having first made a splash in such films as Gaslight, The Picture of Dorian Gray, and The Manchurian Candidate, among others. She was 41 when she starred in Mame. Were people hopping mad that this film star was taking away plum roles from theater veterans? Or should we label Ms. Lansbury a television personality? She did star in Murder, She Wrote for 12 years. The point is Angela Lansbury is an actress who easily moves between film roles, the stage and TV and, rightfully so, should not be pigeonholed into one specific category.

Next up—Hugh Jackman. We all know Jackman epitomizes movie stardom, with big budget action films and romantic period pieces. But Jackman began his career as a musical song and dance man in his native Australia, appearing in such shows as Beauty and the Beast and Sunset Boulevard. He hit the big time playing Curly in the acclaimed 1998 National Theatre’s production of Oklahoma in London. From there, the movie industry beckoned and two years later he was Wolverine in the blockbuster, X-Men. The rest, as they say, is history. So, when Jackman makes his occasional foray to Broadway is he seen as a Hollywood interloper, or a multi-talented actor looking to vary his career opportunities or go back to his roots? Remember, he did wow Broadway in his Tony award winning performance in 2004’s The Boy From Oz.

A more productive argument should be about the appropriateness of a role for an actor—remember Madonna in David Mamet’s Speed-the-Plow--as opposed to silly arguments centered around classifying and labeling. All three “Hollywood” stars who won Tony Awards this year received rave reviews. They were well-suited for their roles. So, shouldn’t we be celebrating the opportunity to see them live instead of whining about “them” taking away plum roles from “theater people?”

2010 Tony Award Musings

2010-06-13T19:00:00.000-07:00

11:10 p.m.

Yes! I called it. The choice for Best Musical makes sense. MEMPHIS is the most straightforward of the four nominated shows and should tour well. MILLION DOLLAR QUARTET was never really in the discussion and while AMERICAN IDIOT and FELA! have substantial merits neither one of them garnered enough acclaim to merit snagging the big prize.

Final thoughts—

-Sean Hayes did better than I originally would have thought as host.

-The telecast finished on time. Not too shabby.

-The major presenters towards the end did have their speeches truncated. Why don’t they limit those winners at the beginning of the show?

-Big night for Hollywood stars. Good or bad?

-Overall grade: B-

10:55 p.m.

My ears are pounding all the way in Connecticut after the AMERICAN IDIOT number. I can’t wait to see the audience reaction when this show tours. You do have to admit it was a great song to promote the musical to the young masses.

So how does one get the stars of THE ADDAMS FAMILY—Bebe Neuwirth and Nathan Lane--on stage? Get them to present the Tony for Best Actor/Actress awards. Whoa! Shocker. Catherine Zeta-Jones winning Best Actress. I had my money on Montego Glover for MEMPHIS. Well, at least Douglas Hodge puts normality back to the awards by winning Best Actor.

10:35 p.m. Posting--

Great number by Matt Morrison! Really injected some zip into the broadcast. Can you say 2011 Tony Award host? Was Lea Michele auditioning for lead in the projected revival of FUNNY GIRL? Put a windscreen on the microphone.

You have to say one thing for Sean Hayes, he does seem he is having a lot of fun out there.

Question--how many Broadway producers can you fit on the stage of Radio City Music Hall?
You can tell time is running short so keep those acceptance speeches short or experience the fate of the LA CAGE acceptors

10:15 p.m. Posting--

Was that Sahr Ngaujah wailing on the sax at the end of the spirited number from FELA!?

Bill T. Jones, a deserving winner for Best Choreography for FELA! COME FLY AWAY, while great dance routines, I prefer dance within the context of a book musical. I thought it was interesting that PROMISES, PROMISES was nominated in this category since one of my big complaints about the musical was its lack of choreography. Interesting about the number they showcased--it takes place during the show’s overture.

10:00 p.m. Posting--

The opening snippets of musicals was a bit bland. I love the musical GREEN DAY, but their mini-concert, while highly entertaining, was just a bit out of place. Good pyrotechnics, though!

First award—Best Featured Actress in a Play goes to Scarlett Johansson. Didn’t she say she couldn’t think of anything to say? So why was her thank you SO LONG?

I think the way the Best Play nominees were presented—short, staccato commentary by the two lead actors/actresses along with a computer generated set of the show--was very well done. The two guys from NEXT FALL were hysterical. Give them their own network television show.

Was it just me or were you also getting more and more uncomfortable as Terry Johnson went through his acceptance speech for the Best Director Tony for LA CAGE AUX FOLLES? Between not looking at the camera and manhandling the award I thought he was going to collapse.

Mark Sanchez, quarterback of the New York Jets did an admirable job introducing the MEMPHIS production number. By far the best of the night—energetic, tuneful song that enveloped the stage. Too bad the other excerpts weren’t as lively.

I love Kristen Chenoweth. Great bit with Sean Hayes introducing Best Featured Actor in a Musical.

Catherine Zeta-Jones is beautiful and delivered a haunting rendition of “Send in the Clowns.”

Best Revival of a Play introductions—ditto from the segments for Best Play.

Sean Hayes started off his hosting chores slightly off, but as the evening has gone on he’s had some great jokes and bits.

Review of "Annie Get Your Gun" at Goodspeed Opera House

2010-05-19T18:01:00.000-07:00

After one of the most lackluster Broadway seasons in recent memory, the arrival of the Goodspeed Opera House’s first production of the year, the Irving Berlin musical, Annie Get Your Gun, is a welcoming tonic. Like comfy food, pleasing and enjoyable, you know what you’re getting with Berlin’s biggest Broadway hit—a rousing, tuneful score and top notch performances.

The story follows sure-shooting Annie Oakley, played by Jenn Gambatese, as she rises from country bumpkin to world class star in Buffalo Bill’s Wild West show, as well as the sometimes tempestuous courtship with Buffalo Bill’s reigning sharpshooter, Frank Butler, played by Kevin Earley. As Oakley, Gambatese is a natural, exuding a winning charm as she morphs from unsophisticated country girl to the toast of New York society. Unlike Bernadette Peters, who starred in the 1999 Broadway revival, Gambatese is age appropriate for the part, which makes her portrayal more entertaining and believable for the audience. Peters was over 50 when she played the spry Oakley (and, yes, I know Ethel Merman was almost 60 in the 1966 Lincoln Center revival). Gambatese also has a beautiful voice that underscores the consummate Berlin score. And what a score it is—almost every number a gem -- “You Can’t Get a Man With a Gun.” “They Say It’s Wonderful,” “I Got Lost in His Arms,” “I Got the Sun in the Morning,” and “Anything You Can Do,” are just a few of the memorable songs Berlin penned for the show.

In addition to Gambatese’s performance, Kevin Earley is up to the challenge as the pompous, blusterous marksman Frank Butler, who slowly falls in love with Oakley. He has boyish good looks, a swaggering charm and a powerful voice. Other notable performers include Rebecca Watson as the scheming Dolly Tate and James Beaman as Buffalo Bill’s right hand man, Charlie Davenport.

The show’s sub-plot, revolving around the romance of the juvenile leads, Winnie Tate, played by Chelsea Morgan Stock and Tommy Keeler, portrayed by Andrew Cao, diverts a little too much attention from the main thrust of the production, but does provide the best dance numbers of the show by choreographer, Noah Racey. Unlike many past Goodspeed musicals, Annie Get Your Gun doesn’t lend itself to many large-scale productions numbers. Think of this show as having more choreographed flourishes.

Director Rob Ruggiero guides the musical with sure-handed ease. He skillfully allows the two stars to wrangle and good-naturedly spar on stage without too much interference.

Annie Get Your Gun, a crowd-pleasing triumph, at the Goodspeed Opera House now through July 3rd.

Review of "Promises, Promises"

2010-05-08T16:29:00.000-07:00

Promises, Promises was the first musical to make an indelible impression upon me. I don’t really remember much from the 1971 national touring production I saw in Washington, D.C. except I thought the Burt Bacarach/Hal David score was captivating and the lead was a young Tony Roberts. That’s it. However, my memory of that evening has continued to be been strong over all these subsequent years. Interestingly, for a show that was a big Broadway hit, playing over 1,200 performances, the musical has been rarely mounted. A surprisingly lackluster 1993 Goodspeed Opera House production was the most recent. So, when a Broadway revival, featuring Sean Hayes and Kristen Chenowith, was announced for this season I was truly excited. Maybe this time my expectations and fond memories would be rewarded.

The plot, taken from the Billy Wilder movie, “The Apartment,” centers on the topsy turvy life of a lowly office clerk, Chuck Baxter, played by Sean Hayes, as he pines for co-worker Fran Kubleik, Kristen Chenowith, while dreaming of climbing the corporate ladder. One asset he has—a one bedroom apartment that all the office bigwigs covet in order to carry out their weekly affairs.

While this latest incarnation of Promises, Promises is not overly satisfying, the production does have much to offer. First, and foremost, is Kristen Chenowith, as the forthright, yet vulnerable waitress/hostess, Fran Kubelik. Chenowith is always a joy to behold in her too infrequent stage appearances. While not always coming across as the young, defenseless girl trying to find love in the big city, she does exude enough vulnerability to make you believe in her character. And what a voice!

Tony Goldwyn is sickly sweet as Personnel Director, J.D. Sheldrake who preys upon the young, innocent females of Consolidated Life Insurance. He’s a conniving charlatan that would make the men of television’s “Mad Men” proud.

The score, the only theatrical output by the team of Burt Bacharach and Hal David, is bouncy and tuneful—just what you’d expect from the hit-making team. There are so many outstanding songs, which include the title track, “Our Little Secret,” “Where Can You Take a Girl?” “A Young Pretty Girl Like You,” and “I’ll Never Fall in Love Again.” The show’s producers, looking to enhance Chenowith’s role have added the Bacharach/David hit “I Say a Little Prayer” and “A House is Not a Home” to her repertoire. It’s a shame the two never wrote another show.

So, what about Sean Hayes? At first, I wasn’t too enamored with his performance as the slightly nebbish Chuck Baxter. I wanted more Tony Roberts or Jerry Orbach, who originated the role in the 1968 Broadway production. What we get on stage is a more heterosexual version of his Jack McFarland role on the television sitcom, “Will and Grace.” He’s a goofy sad sack of a character. It wasn’t until midway through Act I, when I admitted to myself that this is what the creative team wanted in the role, that I settled in to enjoy Haye’s antics on stage. Not a great singer, but someone with solid comic credentials.

My main problem with the show was, surprisingly, its lack of vitality. The liveliness was there during the overture as dancers slinked and shimmied to the music, but then all but disappeared until the rousing Act I ending, “Turkey Lurkey Time.” Sure, there flourishes here and there, but Choreographer Rob Ashford, as opposed to Director, Rob Ashford, could have done so much more. Likewise, I wasn’t impressed with Scenic Designer, Scott Pask’s more minimalist sets. Over the years I have been critical of sets that overpower a production, but here I thought more would have been better.

Director/Choreographer Ashford could have ratcheted up the tempo more in Act I, but does a much more admirable job in Act II, which is more melancholy in tone.

Promises, Promises, maybe more a period piece, but with some rousing performances and sparkling score, worth seeing.

Review of "American Idiot"

2010-05-01T17:55:00.000-07:00

Loud, raucous, full of kinetic energy, yet somewhat unsatisfying, is the new musical, American Idiot, by the punk rock group, Green Day, from their album of the same name. Don’t get me wrong, I enjoyed this high octane tale of suburban alienation performed by a young, dynamic, and talented cast. I qualify my enthusiasm simply because of the lack of any narrative thread that makes the storyline slightly difficult to follow. Green Day enthusiasts—and there were plenty in the packed audience—would belittle such criticism since they know the album backward and forward. But with the non-stop anthems coming in an explosion of sight and sound, deciphering the lyrics, which would help with understanding the frenetic plot, became a losing proposition.

Is this, basically, a generational issue? I would answer in the affirmative. An apt comparison is The Who’s "Tommy," the seminal rock opera that, in 1993, was turned into a Broadway musical. As a teenager in the early 1970’s I knew every song from the album as well as the idiosyncratic storyline. I had no problem following the flow of that show. I knew "Tommy" inside and out so when Pete Townsend and company transformed "Tommy" the LP into Tommy the Broadway extravaganza I knew what to expect and, more importantly, had no difficulty understanding the unconventional plot, which also had little narrative structure. For American Idiot I had no grounding in the source material so while I was captivated by the production the enthrallment was more tempered.

Still, the basic premise is straightforward. Three friends, set out to take on the big city, have their paths irrevocably altered. Tunny, who’s pregnant girlfriend causes him to stay behind, spirals down into disillusionment and apathy; Will, seduced by the lure of glory, enlists in the armed services with tragic consequences; while Johnny becomes seduced by the debauchery and self-indulgence in the unnamed metropolis.

Even with the minimal storyline, the production is riveting with an outstanding cast that never shifts from high gear. How they have the energy and zeal to perform two shows on matinee day is beyond me. There are many first-rate performances in American Idiot, led by John Gallagher, Jr., as Johnny. A Tony winner for Spring Awakening, in American Idiot he seems to have unleashed all his pent-up angst from that show as he extricates himself from the boredom of his suburban detachment to a more noxious, drug infested life in the city.

Tony Vincent, as the downtown, androgynous drug pusher, St. Jimmy, is evil incarnated. I don’t remember the last time I have seen such a repulsive, scary monster strut along a Broadway stage. He was that good.

Director Michael Mayer, along with Green Day front man, Billie Joe Armstrong, deserve praise for crafting a living, breathing musical from one of the most influential and critically-acclaimed albums in recent memory. Mayer keeps the large-scale production pulsating, while adding some creative flourishes such as an artfully crafted high-flying dream sequence. Mayer integrates the creative team’s vision into a throbbing, dynamic piece of musical theater. Kudos to scenic designer, Christine Jones; lighting designer, Kevin Adams; sound, Brian Ronon; and, especially, video/projection designer, Darrel Maloney. They take the vision of American Idiot and have it unfold, not just on-the-ground, but up, down, and above the St. James Theater stage.

American Idiot, slightly flawed, but a powerful force kicking and screaming its way on The Great White Way.

Review of "The Addams Family"

2010-04-25T17:01:00.000-07:00

I really wanted to like The Addams Family. Really, I did. The promise of a big, splashy Broadway musical with a great cast and solid creative team credentials was tantalizing. Unfortunately, The Addams Family is a lifeless, dare I say, bore. The show starts off well enough with an inoffensive, mildly amusing production number, “When You’re an Addams,” but then it’s all downhill from there. Two reasons. First, the two stars, Nathan Lane and Bebe Neuwirth, are given no material to work with. Second, the musical’s book, by Marshall Brickman and Rick Elice, Tony Award winners for Jersey Boys, is disjointed and flat with one lame joke followed by another.

The plot centers around the Addams’ daughter, Wednesday, and her desire to marry a gee-shucks boy from America’s heartland. To impress his visiting family the Addams are ordered to act normally by the love-struck girl. Interestingly, when these words were uttered I immediately thought of another show with this premise, a musical called La Cage Aux Folles which, coincidentally, just opened on Broadway in a scaled down revival. Also, who was in the Americanized movie version of the original French farce? Nathan Lane, one of the stars of The Addams Family. But, I digress. As I stated, the story is ineffective and feeble with none of the creepy pleasures we've come to expect from this macabre family. The writers couldn’t have come up with a better premise? Worse, the attempts at humor are so off-the-mark. I simply cannot remember a musical, in recent memory, where the deficiencies in the book are so evident.

What compounds the problem is the lack of substance for the two stars of the show. A musical featuring Nathan Lane and Bebe Neuwirth should be an event to cherish. Both are seasoned, Tony winning actors that, in the past, have brandished a swagger and style that have kept audiences enormously entertained. But here, playing the roles of Morticia and Gomez Addams, Neuwirth and Lane are saddled with very little to do. I was waiting for Nathan Lane to let loose with his character, to have fun, and meld his musical comedy and vaudevillian sensibilities into another memorable portrayal as he has done so well in such productions as A Funny Thing on the Way to the Forum and The Producers. In The Addams Family, practically nothing. It was like watching someone in a strait jacket unsuccessfully trying to break free.

In Bebe Neuwirth you want to see her dance. She’s a dancer—remember her performances in Sweet Charity and Chicago—but in The Addams Family there is literally zippo, zilch, zero—you get my drift--until her “Tango de Amor” just before the closing curtain. Yes, the end of the show. Not the beginning. Not the middle. The end. Who’s to blame? Well, Sergio Trujillo is the choreographer of record.

I also felt sorry for theater veterans Terrence Mann and Carolee Carmello as the parents of Wednesday’s affection, Mr. and Mrs. Beineke. They have been so marvelous throughout their careers it is too bad they have to be weighed down with such bland and insipid roles. They deserve better.

The score by Andrew Lippa is lackluster at best, providing no opportunity for any of the actors to shine.

The directing/design team of Phelim McDermott and Julian Crouch score no real points on the directing side, but big points on the design end. But, this is just another nail in the coffin when the look and feel of the sets are one of the most memorable aspects of the production.

Is there any redeeming value to The Addams Family? Kevin Chamberlain as Uncle Fester and Jackie Hoffman as Grandma are highly entertaining and bring a slightly off-kilter slant to their characters. That’s about it.

The Addams Family, dead on arrival, now at the Lunt-Fontanne Theatre.

Review of "Lend Me a Tenor"

2010-04-04T05:58:00.000-07:00

Funny. Very funny. That’s the best way to describe the revival of Ken Ludwig’s 1989 farce, Lend Me a Tenor. Featuring an A-List cast, the comedy incorporates many of the characteristics of classic farce—improbable situations, mistaken identities and a hefty dollop of physical zaniness.

Tony Shalhoub plays Saunders, the General Manager of the Cleveland Opera, who has hired Italian tenor, Tito Merelli, portrayed by Anthony LaPaglia, for a high-priced fundraising event. Of course, soon the best laid plans begin to go awry, which sets the madcap plot into motion. Shalhoub, as the high-strung and bombastic impresario, Saunders, is a pure joy. His slow burns, over-the-top histrionics, and comedic timing are priceless. LaPaglia plays more the straight man in the show, but his portrayal of the bloated, pompous, and overly sexed, “Il Stupendo,” is exuberant and flamboyant. His ying to Shalhoub’s yang is integral to the production’s success. The other “name” actor is Justin Bartha, making his Broadway debut and better known as Nicholas Cage’s sidekick in the National Treasure movies as well as the sunburned groom-to-be in last year’s smash, The Hangover. Here, as Max, playing a slightly wimpish assistant to the overbearing Saunders, Bartha comes off a bit too wooden, not appearing as comfortable as the theater veterans that populate the show. Still, his Max is endearing and, in the end, a winning performance.

The rest of the cast--Mary Catherine Garrison, as Max's starry-eyed girlfriend, hopelessly pining for a romantic tryst with Merelli; Jennifer Laura Thompson, as a flirtatious diva; Brooke Adams, as a daft chairwoman of the Opera Guild; and Jay Klaitz, as a pushy and overbearing bellhop--are equally as good. The standout is Jan Maxwell, as Merelli’s long-suffering wife. Not only does she get to overly emote and wail away at her two timing husband, but she also has the opportunity for some physical theatrics.

Stanley Tucci, making his Broadway directorial debut, keeps the action lively and allows his cast to broadly attack their roles. He has a fine sense of the comedic craft and demonstrates this deft ability throughout this side-splitting production.

One added delight is the show’s setting. The Music Box Theater is a small, intimate house perfectly suited for two hours of rollicking fun.

Lend Me a Tenor, a pure delight and welcome addition to the New York stage.

Chicago Theater Boozers

2010-03-11T05:55:00.000-08:00

Last week I attended one of the last performances of the Chicago production of Million Dollar Quartet—a show about the December 1956 jam session at Sun Records with Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis--before its transfer to Broadway. I wasn’t taken with the production, mainly for its lack of dramatic tension. In essence, just another juke box musical without a compelling storyline. Some great music performed by a very talented cast of actor/musicians, but I thought only Sean Sullivan was on target as the man in black himself, Johnny Cash. Of course, with my track record of predicting successful musicals I’m sure Million Dollar Quartert will be a smash hit when it opens next month.

But the most entertaining part of the night at the 440 seat Apollo Theater was not the action on stage, but in the audience. Shortly after the intermission-less show began people started leaving their seats to head out, I assume, to the restrooms. This was not one or two bladder-challenged individuals, but a steady stream. I was perched up in the last row (only eight rows from the stage) overlooking the exit ramp to the lobby which gave me a bird’s eye view of the audience comings and goings. It’s not that these actions were distracting from the show (even though as the evening progressed I became less and less interested in the antics of Jerry Lee Lewis or the whining of Carl Perkins). It was more of a curio, an oddity I had never witnessed in a Broadway house two, three, or four times the size of the Apollo. Is there something in the Chicago water that causes this problem or is this standard audience etiquette in The Windy City theaters?

Or maybe it was due to the amount of alcohol consumption before and during the performance. Now, all theaters have their bar area(s) and people will have a pick-me-up before the curtain rises or, in the case of the Apollo’s 3/4 thrust stage, the lights goes up, but usually with restraint. However, the activity at the theater’s sole watering hole resembled last call at the neighborhood tavern. No wonder, show or no show, when nature called it was time to head to the bathrooms. A prime example was the four blonde bimbos seated just in front of me. I kid you not, this quartet of boozers were sucking down their Bud Lite’s, cackling and laughing like they were in the bleacher seats of nearby Wrigley Field. At one point the tall one on the end left and shortly returned with a six-pack. A six pack of beer! In the theater!! During the performance!!! I don’t know what shocked me the most—the sight of this chicly dressed patron climbing up the aisle, six pack in hand, or the audacity of the theater for selling Bud Lite during the production (couldn’t they at least go upscale with a local microbrew?). I sat there, alternately, transfixed by their antics and dumbfounded by their impudence. Shushing them towards the end of the musical—yes, I actually shushed and didn’t suffer any bodily harm in the process—tempered their gusto to the occasional smirking murmur.

As the show wound down—the actor Lance Lipinsky channeled Jerry Lee Lewis’ “Whole Lotta Shakin’ Goin’ On” for the finale--the juiced up quartet fled the theater. When the lights went up, the row in front of me was a minefield of empties. For a moment I didn’t know if I was leaving, as stated on the Apollo Theater’s website, (http://www.apollochicago.com/history.php) “a lush venue with a prestigious reputation, located in the heart of Chicago's fashionable Lincoln Park neighborhood,” or a venue for fashionable lushes!. Broadway, here we come!

Review of "A Funny Thing Happened on the Way to the Forum" at Goodspeed Opera House

2009-11-21T06:50:00.000-08:00

Two fun facts about Stephen Sondheim’s A Funny Thing Happened on the Way to the Forum, receiving a lively and entertaining production at the Goodspeed Opera House. One, this was the first show with lyrics and music by Stephen Sondheim (he was only the lyricist for West Side Story and Gypsy). Two, even though the original production ran for just under 1,000 performances and garnered a number of Tony Awards, including Best Musical, Actor, and Director, Sondheim was not even nominated for Best Score. All these decades later—Forum was first produced in 1962—this omission seems even more absurd when you listen to a cast recording. What better opening number is there besides “Comedy Tonight?” How about the clowning daffiness of “Everybody Ought to Have a Maid?” These songs, plus “”Lovely,” “Free,” “I’m Calm,” and “Impossible,” in the hands of the comedic ensemble onstage at the Goodspeed make for a delightful and buoyant theatrical treat.

Forum is normally a tour de force for the actor playing the lead character, Pseudolus, the self-absorbed, ever-plotting slave. In fact, every actor who has played the role on Broadway--Zero Mostel, Phil Silvers and Nathan Lane—has won the Tony Award for Best Actor in a musical. Even Jason Alexander, who performed as Pseudolus in Jerome Robbins’ Broadway won the Best Actor Tony. Taking the reins of Pseudolus at Goodspeed is Adam Heller, who mugs with the best of them as he schemes and connives his way to freedom. While Heller is clearly at home with the burlesque nature of the show he doesn’t elevate his performance to where Pseudolus is the top banana. Instead he becomes part of the very fine ensemble of comedic talent that includes David Wohl as the hen-pecked Senex; John Scherer as head slave, Hysterium; and Ron Wisniski as Marcus Lycus, peddler of flesh. Does this set-up hurt the production? The answer is a resounding no. However, a more over-the-top performance by Heller would have enhanced the musical.

The other performances worth noting are Mark Baker, as the creepily daft, Erronius; Nat Chandler as the pompous captain, Miles Gloriosus; Sam Pinkleton as the good-hearted, but naive, Hero; and Emily Thompson as the beautiful courtesan, Philia.

The plot of Forum, filled with mistaken identities, tomfoolery, and double entendres, is a first-class effort by Burt Shevelove and Larry Gelbart. Likewise, Stephen Sondheim’s score while lightweight to some degree, nonetheless provides a playful and melodic series of satisfying songs.

Director/choreographer Ted Pappas keeps the pace fast, frenzied, and farcical as he joyfully brings out the humor and silliness of the production.

The scenic design by James Noone, along with the costumes by Martha Bromelmeier, are colorful and carnival-like, setting a mirthful mood for the audience right from the start.

A Funny Thing Happened on the Way to the Forum, an entertaining and comic diversion, now at the Goodspeed Opera House through November 29th.

Review of "Bye Bye Birdie"

2009-10-15T13:05:00.000-07:00

If some television producer was smart they would sign Bill Irwin and Jake Evan Schwencke to a network show. Playing father and son in the uninspired revival of Bye Bye Birdie, the two, Bill Irwin as the befuddled father, Harry MacAfee; and Schwencke as his young, precocious son, Randolph, have what is lacking in the Roundabout Theatre’s production—chemistry. Their shared time on stage is fleeting, but provides a taste of the rebellious energy one would associate with a musical dealing with fan frenzied teenagers.

For those individuals that have never seen a high school or community theater production of Bye Bye Birdie, not to mention the movie version, the premise is loosely based on the hysterics that swirled around Elvis Presley’s military conscription. In the musical, teen heartthrob Conrad Birdie travels to Sweet Apple, Ohio to bestow one last kiss on a fan before he begins his military service.

John Stamos stars as Albert Peterson, Birdie’s cranky, milquetoast manager. Stamos does an adequate job shedding his normal macho image, but lacks the bounce in his step, that airy effervescence to help offset his bland take on the character. Gina Gershon, his long-suffering girlfriend Rose, is an appealing performer with a pleasing voice, but the interaction between the two protagonists is void of any feeling or emotion. Will they get together? Will love triumph? Will I care? No chemistry.

While the adult performers are the marquee attraction, Bye Bye Birdie is, for all intents and purposes, a paean to those teenage years where sexual exploration and rebellion are commonplace in the American household, toned down within 1950’s sensibilities. The teenage leads, Allie Trimm, as sweet-as-pie, Kim MacAfee, and her overwrought boyfriend, Hugo Peabody, played by Matt Doyle, are freshly scrubbed, likeable young actors, but bring too little of this disaffected sentiment to the stage. Chemistry? Nada.

Nolan Gerard Funk, as the recalcitrant rock ‘n roll rebel, Conrad Birdie, should exude a sexually-tinged magnetism, but comes across as a bored, sneering lout with no hypnotic allure whatsoever. Birdie, in some respects, is a manufactured star, kept under tight reins by his handlers, but Funk shows no charisma, just discontent and indifference.

The rest of the primarily young cast performs well, whether singing en masse or dancing through Robert Longbottom’s upbeat, but flavorless choreography. The teenage ensemble hit their marks with seasoned precision, but lack any sort of playful spontaneity. This is evident in the “The Telephone Hour,” the first big production number of the show. The actors seemed more absorbed with their corded props and moveable scenery then in the celebratory nature of the song. Chemistry? AWOL.

The musical begs for more of the comic antics and anarchistic flourishes Bill Irwin injects into the production, but director/choreographer Longbottom settles for competent and satisfactory as opposed to inspired and exhilarating.

One of the few pleasures of the musical is the score by Charles Strouse and Lee Adams which includes such gems as “Put On A Happy Face,” “Kids,” “One Last Kiss,” “A Lot of Living’ To Do,” and, my favorite, “Hymn For A Sunday Evening.”

So, from my critique you would think I would be dissuading people from heading to the Henry Miller Theater on West 43rd Street. For grizzled critics, like myself, and habitual theatergoers this would be true. But for younger audiences and families that attend Broadway shows infrequently, this production of Bye Bye Birdie will be captivating and entertaining with just the right amount of Broadway sizzle and sass.

Review of "Camelot" at Goodspeed Opera House

2009-08-08T19:11:00.000-07:00

The legend of King Arthur and his Knights of the Roundtable come alive in a stark, yet rewarding production of the Alan Jay Lerner and Frederick Loewe classic, Camelot, at the Goodspeed Opera House in East Haddam, CT. Like its stripped down, and wholly satisfying production of Sweeney Todd a few years back, Goodspeed’s Camelot pares down the large-scale production values associated with the show without sacrificing any quality. In some ways, the musical is enhanced. The minimal sets—sliding screens here, a hanging tapestry there—the lavish costumes, and few essential props allow the audience to focus on the essence of the show—the vivid, yet doomed relationship between the three central characters—King Arthur, Lancelot, and Lady Guenevere.

The impressive triumvirate are captivating performers. Bradley Dean as the questioning and principled King Arthur; Maxine de Toledo as the self-centered, yet loyal knight, Lancelot; and Erin Davie as the strong-willed and vibrant Lady Guenevere have an effervescent presence on stage, especially Davie who soon becomes the central focus of a romantic triangle between Arthur and Lancelot. Each of the three actors are accomplished singers, texturing their songs with gaiety and pathos.

Camelot starts out slowly and a bit askew due to Alan Jay Lerner’s attempts at condensing the source material for the show, T.H. White’s novel, The Once and Future King, but gains its footing quickly by Scene Two of the first Act. Director Rob Ruggiero ratchets up the drama and tension between the three leads culminating in a subdued, but sexually charged bedchamber scene towards the end of the musical when Lancelot is caught in Lady Guenevere’s room by the scheming Modred. Ruggerio effortlessly keeps the action moving through the almost three-hour production providing ample opportunity for levity—courtesy of Ronn Carroll’s turn as the aged King Pellinore—and treachery via Adam Shonkwiler’s devious portrayal of Modred.

The Lerner and Loewe score contains a number of gems, though not of the quality of their previous Broadway musical, My Fair Lady. Within the first fifteen minutes we are treated to Bradley Dean’s King Arthur singing, as opposed to the talk-singing epitomized by Richard Burton in the original Broadway cast, “I Wonder What the King is Doing Tonight;” Erin Davie’s saucy, “The Simple Joys of Maidenhood;” and both Dean and Davie with a spirited rendition of the title song, “Camelot.” We also have, later in the show, Maxine de Toledo’s Lancelot giving us a comic, “C’est Moi,” and a sultry, “If Ever I Would Leave You.” Second tier Lerner and Loewe is still a cut above most recent Broadway fare.

Camelot, creating that “one brief shining moment,” at the Goodspeed Opera House through September 19th.

2009 Tony Award Musings

2009-06-07T19:24:00.000-07:00

So, the Tonys have come and gone. How was the award ceremony? Entertaining. Few surprises. So, here goes…at least my highlights…

Opening Number
Great idea to have snippets from nominated shows. Started the program off with a good dash of energy and pizzazz. Personally, I would have liked more of Billy Elliot and why did they have such a wide shot of the actors? Trying to cover them and Elton John singing was too much. West Side Story and Guys and Dolls combo was well done; Stockard Channing was pleasing from Pal Joey, but next to normal got shafted. If you blinked you missed Aaron Tveit with a few lines from “I’m Alive.” Shrek was fun, but not the best song from the show even though it did showcase Tim Hatley’s whimsical costumes; 9 to 5 was too focused on Dolly and not enough on the threesome of Allison Janney, Stephanie J. Block, Megan Hilty. Rock of Ages--too much airtime; and Hair was a grand way to end the segment with everyone rocking out on stage.

Neil Patrick Harris
His opening monologue had some good lines and knows the show is not about him. The winks and nods to the TV and movie people weren’t really necessary, but a good easy transition to the body of the show.

I liked that he kept the show apace with his self-deprecating wit. He also had an easy, unassuming manner in his hosting style. Nice closing number. Good job, Doogie.

Shrek (nomination number)
Suprisingly full production number with sets and all. But while “What’s Up, Duloc?” showcased Christopher Sieber as the vertically challenged, Lord Farquaad, I would have preferred more of Brian D’Arcy James and Sutton Foster. The opening number, “Big Bright Beautiful World” or “Morning Person” that features Sutton Foster tap dancing away with a pack of rats would have been better.

YEAH Angela Lansbury
for winning best supporting actress in a play! The only reason to see Blithe Spirit. Five Tonys. Goodness. (quick—who is the only other actress to win 5?—see below) We’re always ecstatic to have you back. Keep coming!

Touring Productions
The road is where producers make A LOT of their money, but the presentations of Mamma Mia, Legally Blonde, and Jersey Boys were unnecessary and a shameless promotion. Enough said.

Best Play Nominees
WHY? Thirty seconds of each nominated play, maybe? You get absolutely no sense of the show. Again, why bother?

next to normal – Best Score
I have not seen the musical, but I do have the cast album and while I LOVE Elton John’s score for Billy Elliot I have to admit the total score for next to normal is outstanding and is very deserving.

West Side Story (nomination number)
Rousing intro by Lin-Manuel Miranda. Perfect number to showcase the revival—Jerome Robbins’ athletic, energetic, and bounding choreography, Leonard Bernstein’s music, and two star-crossed lovers. I can see the lines at the box office forming already.

Rock of Ages (nomination number)
How was this nominated for Best Musical over 9 to 5? Great number if I need my 80’s fix, but otherwise underwhelming.

[answer to quiz – Julie Harris]

Guys and Dolls (nomination number)
Rather lame rendition of “Sit Down, You’re Rockin’ The Boat.” I yawned. I think I took my frig break.

Supporting Musical Actor/Actress
Best acceptance speeches. Bravo Gregory Jbara and Karen Olivo.

next to normal (nomination number)
What the Tony Awards can do – take a musical most people haven’t heard of and present a powerfully, well-acted number that showcases the best it has to offer. I was transfixed.

Tribute to Those that Passed
Could you have showed a little dignity for those that have left us and made sure we could have at least read their projected names?

Billy Elliot (nomination number)
Trent Kowalik’s tap dancing was fantastic, but when they added the other cast numbers to the stage it became a mish mash. [For those that have not seen the show, it is staged with much more precision live] What was one of the best numbers in the musical became a disappointment. They should have gone with “Electricity” and just kept the spotlight on Kowalik.

Jerry Herman Tribute
Rather lackluster. It would have been nicer to see a live production number that incorporated some of his better known songs. Maybe even have had Angela Lansbury warble a bit.

Hair (nomination number)
High energy. Great camera work. Almost made Radio City Music Hall seem intimate. A full throttle success.

Best Revival of a Musical
Hair. Was it really a surprise?

Best Actor/Actress in a Musical
Surprise? No. It's nice to see a Broadway veteran like Alice Ripley win even though I could have done without the shouting of the acceptance speech. The boys from Billy Elliot actually acted like little boys up there. Congrats!

Best Musical
And the envelope...oh, my goodness. It's Billy Elliot! One of the best musicals I've seen in a long time. Bravo. And how gracious was Elton John? One of the only losers from the Billy Elliot juggernaut and what does he do when he takes center stage--congratulates the composing team for next to normal. Good for him.

So, overall, a typical Tony Award ceremony. Some good production numbers and some disappointments. The main surprise was there were no real major surprises. Big winners -- Billy Elliot, of course, with ten Tonys; next to normal with two major awards; and God of Carnage with Best Play, Best Director and Best Actress. I'm already looking to next year when, musicals at least, we have Spiderman (directed by Julie Taymor) and The Addams Family with Bebe Neuwirth and Nathan Lane. Can't wait for those production numbers.

What to See on Broadway in 2009

2009-05-27T08:56:00.000-07:00

Back in July 2007 I put up a blog about my suggestions for what musicals to see in New York. So much has changed on the musical theater landscape since then I thought it would be time to update my list of recommendations.

I originally wrote that friends, co-workers, relatives, acquaintances seek my advice since I have seen just about every current musical now playing in New York. Since I bill myself as a hard-nosed critic, they think I know what I’m talking about. I am always happy to oblige, especially when the high cost of tickets are forcing occasional theatergoers and families to limit their excursions to the New York musical stage.

So, what are my top suggestions as of May 2009? Again, I have broken them down into five categories:

Tikes – ages 6-9
Tweens – ages 10-13
Teen – ages 14-17
Young Adults – 18+ years
Adults

When I make a recommendation it is usually with the understanding that an individual or family has not been to the Broadway stage very often. I lean towards the newer shows, but this is not a knock against some of the warhorses such as Mamma Mia and Phantom of the Opera. However, this is all an inexact science with numerous variables to consider. Is one seeking a musical comedy or more serious production? What might appeal to two or three age groups at the same time? My daughter is a mature eleven year old. What do we do about her?

I have not included such shows as Billy Elliott, Wicked, or Jersey Boys as any of the primary choices since these shows are always sold out and you would have to pay a king’s ransom to acquire decent seats. Wait a few years for their sheen to wear thin, then procure tickets. Speaking of procuring tickets, there are a number of ways to purchase theater tickets quite cheaply. You can refer to a previous blog I wrote.

Foul language is not as much of an issue as when such shows as Spring Awakening or the revival of A Chorus Line were still playing, even though the revival of Hair might cause some trepidation.

Within the listings there is considerable overlap. For example, Shrek—The Musical could enthrall everyone, from TIKES to ADULTS. The age ranges of each category can be flexible at either end of the spectrum so a TWEEN may in fact be quite comfortable in a YOUNG ADULT show. You may scratch your head about why I left a certain production off a category. For example, Chicago is not listed in the top five of any category even though it has been playing for years and continues to do well at the box office. But Chicago is getting a bit old in the tooth and there are more worthy shows to plop down your money for. Mamma Mia (great for TEENS on up) is omitted, not because it is not worthy (I thoroughly enjoyed it), but there are other shows I would see first. Finally, just because a musical is not on my lists does not mean it is undeserving of your patronage. Show that I have previously reviewed are linked to that review. Also, with new shows opening each year the rankings could change overnight. So, without further ado…drum roll please…

TIKES (6-9 years old)
Disney use to have this category all to itself, but Dreamworks, with Shrek—The Musical, has muscled their way into this group . No matter what your feelings are about Disney’s theatrical presence you have to admit they know how to deliver the goods.
1. The Lion King – Director Julie Taymor took a two-dimensional movie and turned it into a tour de force Broadway musical. The opening number is still one of the best in recent Broadway history (I won’t reveal why). Her use of puppetry brings to life the assorted characters in The Pride, inspiring awe and wonder among theatergoers, both young and old.
2. Shrek—The Musical – I enjoyed Shrek, primarily because of the all-star cast (Brian D’Arcy James, Sutton Foster, Chris Sieber). Good score, great costumes. The show is like the old Road Runner cartoons. It can be enjoyed at different levels.
3. Mary Poppins – When I saw the show there was a bevy of very young children directly in front of me. They didn’t make a peep. Enough said.
4. The Little Mermaid – I wasn’t too crazy about the show, but little ones should enjoy seeing Ariel and friends come to life. The costumes and sets, along with the score, should keep them transfixed.

TWEENS (10-13 years old)
There are a couple of shows for the older TWEENs mixed in with the TIKE choices from above.
1. Lion King – see under TIKES.
2. West Side Story – the revival has been close to selling out, but another classic which would be an excellent introduction to the musical stage. The music, Jerome Robbins choreography, and action should keep Tweens interested. Could be a stretch for them.
3. South Pacific – lush, large-scale revival of the Rodgers and Hammerstein classic. Great score. Could be a stretch for them. May be hard to acquire tickets .
4. Phantom of the Opera – Like the Energizer Bunny this Andrew Lloyd Webber warhorse goes on and on and on. Very theatrical with one of Webber’s most melodic and recognizable scores. Might be a bit scary. And where else would you find a crashing chandelier.
5. Shrek—The Musical – see under TIKES.
6. Long-range planning – Billy Elliott and Wicked.

TEENS (14-17 years old)
1. Hair – One of the seminal rock musicals with another classic score. Youthful, energetic cast makes this a must see. Some language issues and nudity.
2. West Side Story – see under TWEENS.
3. In the Heights – Tony winning Best Musical. High energy, terrific choreography. Its vibrancy and pulsating rhythms ignite the Richard Rodgers Theatre.
4. South Pacific – see under TWEENS.
5. 9 to 5—The Musical – I thoroughly enjoyed the production, primarily because of the three lead actresses. All are superb. Good Dolly Parton score. Fun, pure and simple.
6. Long-range planning – Billy Elliott and Wicked.

YOUNG ADULTS (18+ years old)
1. Hair – see under TEENS.
2. West Side Story – see under TWEENS.
3. In the Heights – see under TEENS.
4. South Pacific – see under TWEENS.
5. 9 to 5—The Musical – see under TEENS.
6. Rock of Ages – retro, 1980’s power rock musical. For the classic rock crowd.
7. Long-range planning – Billy Elliott, Jersey Boys, and Wicked.

ADULTS
1. South Pacific – see under TWEENS.
2. West Side Story – see under TWEENS.
3. 9 to 5—The Musical – see under TEENS.
4. In the Heights – see under TEENS.
5. next to normal – I will admit I have not seen this small-scale musical, but the word-of-mouth has been great. It is more of a serious work centering on a woman with bi-polar disorder. Might not be everyone’s cup of tea.
6. Hair – see under TEENS.
7. Long-range planning – Billy Elliott, Jersey Boys, and Wicked.

Still unsure? Email me at Broadway99@comcast.net with your specific situation and I can see what I can recommend.

Review of "Blithe Spirit"

2009-05-19T20:24:00.000-07:00

Thank goodness for Angela Lansbury. She is really the one reason to see the revival of the Noel Coward comedy, Blithe Spirit, now on Broadway. As medium Madame Acarti, Lansbury gives a kooky, comedic, yet nuanced performance that enlivens the production whenever she sets foot on stage. It’s too bad she spent all those years in Hollywood with Murder, She Wrote. Now, I was a big fan of that television mystery series, but when I think of the twelve years she was out there instead of gracing the Broadway stage, I am very saddened.

But, I regress. Unfortunately, Blithe Spirit itself doesn’t have much else to offer. Granted, Rupert Everett and Jayne Atkinson, playing the married couple Charles and Ruth, are experienced actors, Everett more in films. They play their roles well, but the verbal repartee between the two wears thin quickly. Maybe if I had as many drinks as what the characters consumed during the show I would feel otherwise.

The major disappointment is Christine Ebersole as Elvira, the ghostly first wife of Charles, inadvertently summoned back from the ethereal world during a séance conducted by the eccentric Madame Acarti. Ebersole flits from one end of the stage to another, flapping her silky gown along the way. She creates a bit of mischief here and there for Charles, who is the only one that can see and hear her, but her hijinks become quite boring rather quickly. Sometimes, I sensed Ebersole didn’t know what to do with herself. One wonders what director Michael Blakemore, who has done outstanding work on Broadway throughout the years, was trying to accomplish.

One other bright spot in the production was Susan Louise O’Connor as the daft servant Edith. In between Coward’s non-stop, sophisticated chatter and witticisms O’Connor entertains us with silliness and a dash of slapstick.

Blithe Spirit, another golden opportunity to take in what could be another Tony winning performance by Angela Lansbury.

Review of "42nd Street" at Goodspeed Opera House

2009-05-18T20:24:00.000-07:00

Ah, those dancing feet. Those tap dancing feet. They are just one of the many joys from the Goodspeed Opera House’s slightly uneven production of 42nd Street, now running through July 4th. I’m a sucker for great tap dancing and there is plenty of it on display in this musical comedy fable. Right at the show’s start the curtain rises, stopping midway above the stage, to reveal a gaggle of gorgeous gams hoofing it at breakneck speed. Moments later the curtain finishes its climb as we are introduced to one of the best looking and most talented ensembles I have seen at a Goodspeed production. They are young, energetic, and very eager to please.

42nd Street is the ageless story of a star is born. Young Peggy Sawyer, fresh off the bus from Allentown, PA, manages to make the chorus of the new Julian Marsh directed Broadway musical, Pretty Lady, and by show’s end gets her big break to become an overnight sensation. Kristen Martin is perfect as the naïve, doe-like, youthful Peggy Sawyer. She is attractive, can dance up a storm and has a rapturous voice. Unfortunately, her two male leads are not as well-cast. Austin Miller as juvenile lead, Billy Lawlor, is more of a poseur than actor. He plays Lawlor as a buffoon rather than a good-natured casanova. When he sings or dances he doesn’t connect with the audience which makes for a very distracting performance. James Lloyd Reynolds, as veteran director, Julian Marsh, is ruggedly handsome, but does not give us the impression of someone who has been slugging it out in the Broadway trenches for decades. He seems always in high gear, barking out his lines; there is little subtlety or shading in his portrayal. However, the supporting cast is superb led by Dale Hensley and Dorothy Stanley as the songwriting and acting team of Bert Barry and Maggie Jones. They inject a measured amount of humor and zinging one-liners into the production. Jennifer Foote is also a delight as seasoned showgirl, Ann Reilly.

One of the real gems of 42nd Street is the choreography by Rick Conant. Whether it is the soft shuffle to “Go Into Your Dance” or the high octane Act I finale of “We’re in the Money,” Conant sets up one crowd pleasing number after another. The score by Harry Warren and Al Dubin is a treasure trove of musical theater hits—“You’re Getting to be a Habit With Me,” “We’re in the Money,” “There’s a Sunny Side,” “Lullaby of Broadway,” “Shuffle Off to Buffalo,” and the title number, “Forty-Second Street.” You could not ask for anything more.

Ray Roderick’s direction keeps the show taut, working well with the other members of the show’s creative team. Besides the bumps in the road with actors Miller and Reynolds, he mounts an efficient and ultimately satisfying production. Special mention should also go to costume designer, David Lawrence, for some whimsical, yet stylish outfits that hark back to the fanciful and extravagance of 1930’s stage and screen musicals.

42nd Street, shuffling along through July 4th at the Goodspeed Opera House in East Haddam, CT.

Review of "Accent on Youth"

2009-05-05T05:34:00.000-07:00

David Hyde-Pierce is a marvelous comedic actor which he has shown to great ability in Spamalot, Curtains (winning the Tony Award for Best Actor in a Musical) and, of course, in the long-running television program, Frasier. However, in the Manhattan Theatre Club’s revival of the Samson Raphaelson comedy, Accent on Youth, Hyde-Pierce, playing aging playwright Stephen Gaye, inspired by love on stage, but a failure off, is rather underwhelming. The fault is not in the actor himself or the supporting cast or even the fine direction by Daniel Sullivan, but with Raphaelson’s script. More a meditation on the subject of love, the show glides through its very short Act I and then lumbers through a more substantial Act II.

David Hyde-Pierce does have some very funny scenes and his presence is always welcome on a New York stage. However, this show belongs to Charles Kimbrough as the spunky, ever-pleasing, and aged butler, Flogdell. Kimbrough, better know for his television work in Murphy Brown, demonstrates a keen sense of comic timing and movement. He is such a joy to behold. Byron Jennings is splendid as actor Frank Galloway, an older thespian enjoying spectacular success in the new Stephen Gaye drama. The rest of the cast, while fine, did not bring anything special to the production.

Accent on Youth, a trifling affair, now at the Manhattan Theatre Club’s Samuel Friedman theater on West 47th Street.

Review of "9 to 5--the Musical"

2009-05-04T06:53:00.000-07:00

Take a memo—9 to 5, the last musical of the current New York season, is a big, splashy, feel-good production that Broadway has almost forgot how to produce. It is the perfect tonic to brighten up these difficult economic times. Based on the hit 1980 movie of the same name, the story focuses on three office secretaries who finally tire of their sexist, egotistical and all-together slimy boss. Through inadvertent happenstances they end up kidnapping the scoundrel, holding him hostage at his home, while at the same time covertly taking over office operations which drives productivity and morale through the roof.

There are a number of reasons that make 9 to 5 work. First, and foremost, are the three lead actresses—Allison Janney, as take charge office manager Violet Newstead; Stephanie Block, as the frazzled, new-to-the-work-world, Judy Bernly; and Megan Hilty as the Dolly Partonesque executive secretary, Doralee Rhodes. We like them, care about them and, most importantly, their chemistry and interplay together is unforced and genuine. All three actresses receive ample stage time and a song or two they can call their own, delivering each time they are called upon to take center stage. While both Stephanie Block and Megan Hilty have the more powerful voices, Allison Janney more than holds her own during her musical numbers. Marc Kudisch is downright despicable as boss Franklin Hart and the longtime Broadway veteran never lets up on the sleaziness factor.

The score by country legend Dolly Parton combines country with Broadway razz-ma-tazz and is wholly satisfying. The title song is reworked into an invigorating opening number that combines the kinetic choreography of Andy Blankenbuehler with the tuneful former chart topping song. Blankenbuehler’s style, exuberant and athletic, which so energized last year’s Tony winning In the Heights, is all about movement. Characters don’t just walk, but almost seem possessed by a rhythmic force as they traverse the stage.

Patricia Resnick’s book, based on her screenplay for the movie, encompasses all the highlights of the film while at the same time creatively re-engineering scenes for the stage. The extended dream sequence is a wonderful example. Director Joe Mantello, no stranger to large casts headed by strong, empowering women—think Wicked—superbly blends all the musical’s separate components into a breezy, fast-paced production. The second act does lag a trifle, but nowhere to the detriment of the show.

Scenic designer Scott Pask, as well as the rest of the creative team, have conjured up a realistic corporate office bullpen of secretaries and worker bees. Their use of rear screen projections adds some panache without being overbearing, something other Broadway shows should take heed of.

So, order more carbon paper, restock the white out, and sharpen those number two pencils, 9 to 5—the Musical should be taking out a long lease at the Marriott Marquis Theatre.

Review of "God of Carnage"

2009-04-12T17:24:00.000-07:00

“Let the battle begin” could be the thematic war cry for the new comedy, God of Carnage, by playwright Yasmina Reza. What starts off as a convivial meeting between two couples to discuss the thwacking one son gave the other with a stick on the playground, breaking a couple of teeth, very quickly degenerates into a verbal and physical joust among the four protagonists.

The quartet of actors are marvelous, even though James Gandolfini, portraying a dealer in wholesale plumbing fixtures, is not in the same acting league as the other three—Hope Davis, a ‘wealth manager;’ Jeff Daniels, her obnoxious, mannerless, overbearing corporate lawyer husband; and Marcia Gay Harden, a writer. The latter three put on an acting clinic as the onstage tensions slowly mount and the civility fault lines begin to crack. The fun of God of Carnage is watching, sometimes in mock horror, the utter breakdown of courteousness and gentility of the characters. Yasmina Reza’s purpose is not simply to entertain, but to also poke holes into the pretentious lives of the upper middle class. As she demonstrated with her Tony Award winning show, Art, Reza’s meditations provide an opportunity for reflection as well as a rollicking good time.

Actors Daniels, Davis and Harden are all so good it would almost be unfair to single out any one performance. However, Marcia Gay Harden is the catalyst for setting the other players in motion. Her unconditional surrender to the role of Veronica allows her to bring forth a roller coaster ride of emotions and acting pyrotechnics. I was drained after watching her through the 90 minute, intermissionless production. I don’t know how she can muster the energy, twice a week, for a matinee and evening performance.

Director Matthew Warchus also deserves kudos for nurturing the action on stage, from a simmering boil to a pressure cooker explosion. He artfully choreographs the little skirmishes and all-out warfare, allowing the actors, from time to time, to rest like caged animals, licking their wounds, panting, and pondering their next plan of attack.

My only quibble with the show was its conclusion which, after a high octane joy ride, ends too abruptly, like coming down from a fabulous sugar high. Then, again, what is the best way to scale back from open warfare? God of Carnage, on Broadway at the Bernard B. Jacobs theatre on West 45th Street.

Review of "Jersey Boys" - National Tour

2009-02-08T13:32:00.000-08:00

I will admit right up front that I was not blown away by Jersey Boys, playing now at the Bushnell Center for the Performing Arts in Hartford, CT through February 22nd. Maybe my problem was with the musical itself or it could have been the pre-show hype I had been hearing for the past few years. I never got around to seeing the Broadway production, but everyone who ventured into New York City to see the show came away in ecstasy. I will also confess that most people in the audience—especially the ladies—were having a grand time.

Jersey Boys tells the story of the formation and rise to fame of The Four Seasons (the group only became Frankie Valli and The Four Seasons once most of the original members had left). The show gets underway at a deliberate pace as we are introduced to the band members, their quirks, and foibles, as they begin their slow ascension to pop superstars. The music is one of the main strengths of the show, but doesn’t really begin to scintillate until just before the end of Act I when The Four Seasons run through three of their biggest hits and most recognizable songs—“Sherry,” “Big Girls Don’t Cry,” and “Walk Like a Man.” It was just before this success that group member Bob Gaudio, played by Josh Franklin, joined the band. His songwriting talents, along with producer Bob Crewe, portrayed by Jonathan Hadley, are what finally catapulted The Four Seasons to fame. The remainder of Act I, and most of Act II, bestow upon the audience a huge dollop of hits from Frankie Vallie, with and without, The Four Seasons.

Franklin, as Gaudio, is the glue that holds the show together. He exudes confidence, charisma, and a naïve charm that adds depth to his depiction of the singer/songwriter. Unfortunately, we have to wait through a good portion of the opening act before he makes his entrance. The other cast members were more two-dimensional in their characterizations, starting off with Matt Bailey as lead guitarist, Tommy DeVito. Bailey reminds me of a young Sheldon Leonard portraying some two-bit thug in a 1960’s sitcom. Steve Gouveia, who has been with the production since its pre-Broadway tryout, seems to be sleepwalking through his role as bassist, Nick Massi. Joseph Leo Bwarie makes a compelling Frankie Valli, with a great voice and soaring falsetto, but a matinee idol he is not.

The book by Marshall Brickman and Rick Elice does its best in highlighting the ups and downs of the pop quartet during its heyday throughout the 1960’s. I would have liked dates occasionally flashed on the multi-media screens hung above the stage to help anchor the story. Director Des McAnuff and choreographer Sergio Trujillo keep the pacing swift, never slowing the tempo too long during the sensitive moments on stage. McAnuff, though, could have done a better job helping the actors flesh out their roles to present a more vivid dynamic on stage.

Jersey Boys, even with all my prattling, is still an enjoyable musical that will have you tapping your feet throughout the show. At the Bushnell Center for the Performing Arts in Hartford through February 22nd.

Review of "Enter Laughing"

2009-02-01T13:25:00.000-08:00

Enter Laughing, the musical revival receiving a sparkling production at the York Theatre Company, has had a storied history. Its genesis began with a 1958 autobiographical novel by the mult-talented Carl Reiner. That begat a successful 1963 stage adaptation by Joseph Stein which, in turn, became a 1967 film version. In 1976, Stein and Stan Daniels reworked the story into a Broadway musical, entitled So Long 174th Street, that bombed after 16 performances. Fast forward over 30 years to the Fall of 2008 where a revised edition of the musical opens to stellar reviews and, then finally, is brought back by the York Theatre Company for an encore engagement through March 8th.

Enter Laughing revolves around young David Kolowitz, a stage-struck and would-be Casanova who finally realizes his ambition of becoming an actor. In order to consummate his dream, Kolowitz must deftly handle his jealous girlfriend, an unsympathetic boss, and his overbearing mother. The show is very funny and, at times, laugh outloud hilarious, especially the scenes of David attempting to rehearse his big, break-through role. The musical boasts an exceptionally talented cast, the most notable being Josh Grisetti, as the determined David Kolowitz. Grisetti, gangly, charming and self-confident, succeeds in his quest, in spite of himself. His struggles to rehearse a simple laugh are uproarious. Veteran Bob Dishy, as the boozing, pompous, second-rate theater actor, Harrison Marlowe, is a pure joy to behold. Dishy’s comic timing and mannerisms could be a master class for would-be thespians. Marla Schaffel, playing Dishy’s onstage daughter, Angela, demonstrates real musical comedy prowess, especially during the show within a show finale. Lastly, Jill Eikenberry, most well-known for her role on television’s L.A. Law, in just a nod or shrug pours on the Jewish guilt better than my grandmother. Eikenberry’s real life husband, Michael Tucker, who plays her fictional spouse, David’s father, has a rather lackluster role, but his Act Two dance routine, "Hot Cha Cha," with Ray DeMattis is an absolute gem.

The score by Stan Daniels, performed by a three piece pit band, while not containing any memorable songs, is fun, sometimes bawdy, always entertaining within the context of the show. The sets and costumes are minimal but, here, less is better. The direction and musical staging by Stuart Ross is crisp, energetic and allows the actors the freedom and flexibility to make Enter Laughing such an enjoyable evening of theater.

In a theater season being known more for what has closed than what has opened, Enter Laughing provides the New York stage with a much needed shot in the arm.

The Closing of Broadway?

2009-01-07T08:39:00.000-08:00

One my rituals before the curtain rises on a Broadway show is thumbing to the back of the Playbill to the “How many have you seen?” section and counting the number of productions I’ve attended. Currently, the total is 19. In another week that figure will plummet to 13 as six shows on my list will close (an unprecedented 13 musicals and plays will be taking their final bows by the middle of January).

While pundits blame the souring economy on this staggering figure (and it is a contributing factor), a closer examination of the specific shows presents a more palatable picture. First, five of the 13 productions are limited runs, scheduled to close at this time of the year. These are the acclaimed Arthur Miller revival of All My Sons; the comedy, Dividing the Estate; White Christmas; Liza’s at the Palace; and Slava’s Snowshow. You could even count the revival of Gypsy, with Tony Winners Patti Lupone, Boyd Gaines and Laura Benanti, as a scheduled close. Originally, the musical was slated for a March shuttering, but decided to close early due to slow ticket sales. So maybe we say 5 1/2 shows were planning to leave the ranks of Broadway productions, regardless of the economic woes.

Out of the remaining seven musicals and plays there is the critically panned 13, which some people are surprised lasted this long; the ghastly revival of Grease, which should have been put out of its misery long ago; and the very mediocre Young Frankenstein (which, regardless, will have run for over two years). Nine down, four to go. The highly entertaining, Hairspray, will have played for just about 6 1/2 years in New York; and Monty Python’s Spamalot almost four years. Hairspray, the 19th longest running show in Broadway history, has been getting a bit tired lately, notwithstanding the recent infusion of original cast members (and Tony winners) Harvey Fierstein and Marissa Jaret Winokur, and maybe should be closing. I always found Spamalot enjoyable, but not laugh out loud hysterical. News of its closing didn’t send me into a tizzy.

So that leaves Spring Awakening and Boeing Boeing, two shows that are bona fide casualties of the economy. Spring Awakening was energetic, brash, with a great score; Boeing Boeing was something not really seen on Broadway these days—a laugh a minute comedy. Both deserve longer runs. By my count that’s 11 out of 13 shows where their time has come. Not too shabby.

As I’ve stated, and as the press has ceaselessly hammered into our heads, the economic state of the United States is horrible, and this has affected the Great White Way, notwithstanding my aforementioned pontifications. But the root of the downturn on Broadway is much more systemic. It’s been going on for years. To put it simply, Broadway ticket prices have ballooned to a point that attendance on a regular basis for the average citizen is practically impossible—whether the economy is good or bad. Friends constantly ask me about my opinion of shows (word-of-mouth is the most cited reason for selecting a show to see), because they value my choices. Since they are planning to attend only ONE production a year they want to ensure their entertainment dollars are worth the investment. I use my blog and weekly radio program as a bully pulpit, pumping up the Broadway shows I think praiseworthy and carping on the ones I believe should be passed over.

The top orchestra seats to Billy Elliot are selling for $136.00; Wicked is at $121.00. I know producers will blame the unions and other entrenched costs for the skyrocketing numbers, but without a solution Broadway might as well close the stage doors for good. When I was a lad growing up in Central New Jersey my friend and I would take the Suburban Transit bus to New York City and buy FULL PRICE orchestra seats to a Saturday matinee (there was no TKTS Booth). Our first show, 35 years ago when I was a freshman in high school, was the original production of Grease and our tickets cost around eight bucks. I’m not suggesting prices should be rolled back to what I paid in the early 1970’s, but the point is back then a 14 year old kid could pay for an orchestra seat without breaking the bank. My family of six could regularly drive into the city, park, have dinner and see a show without my parents taking out a second mortgage on the homestead. Today, that’s impossible. A similar evening of entertainment today could cost over $900.00! For one night! Who can do that on a regular basis? How can you instill the love of theater into today’s generation if live productions are so out-of-reach? Producers will shout out about all the discounts and specials that are offered to the public. Oh, and there’s still the TKTS Booth. These are all fine and dandy except, why bother? Why not set prices at a lower level so people could afford Broadway productions on a regular basis as opposed to waiting for the sale to begin? And let’s nix the premium seat pricing while we’re at it--Thank you Mel Brooks. These voodoo pricing policies only serve the public that has flexibility in their schedule. But what about the family of four that wants to plan ahead, but their itinerary doesn’t jive with the discounts du jour? Sorry. I know Broadway is a “business,” but higher ticket prices, in order to recoup investments quicker is not a smart decision. What’s the old saying—“cut your nose to spite your face?”

One could point to the mezzanine or the rear mezzanine as a location with much lower prices. Sit there if you can’t afford the orchestra. But forcing people into the cheaper seats is not how you want to introduce individuals or, for that matter, keep individuals interested in the theater. With lower ticket prices, overall, at least you can give theatergoers more of a choice as opposed to dictating where people sit. Hopefully, attending a musical or drama will then become more of a comfortable habit which, in turn, will keep them coming back again and again.

So, producers, technicians, craftsmen, actors, actresses, and everyone else involved in putting up a show--take note. Come up with solutions. Convene a special task force. Do something. Without a viable resolution soon Broadway may see a lot more multi-closing weekends in the near future.

Review of "Emmet Otter’s Jug-Band Christmas"

2008-12-19T13:13:00.000-08:00

It’s the holiday season. You want to do something special with the family, but you’ve seen The Nutcracker and A Christmas Carol umpteen times. What to do? Fortunately, there is a new seasonal alternative, now playing at the Goodspeed Opera House in East Haddam, CT. Titled Emmet Otter’s Jug-Band Christmas, the production is a joint effort between Goodspeed and The Jim Henson Company, home of The Muppets and other assorted enchanting creations. Based on the children’s book of the same name and, more notably, the 1977 television special directed by Henson, with a score by Paul Williams, Emmet Otter is, according to the program notes, “where love and family and the hope of the holiday period take the chill off a frozen river, where the sounds of the season bring an infectious boost to the spirit, and where Emmet Otter and his friends make a little bit of magic right before your eyes.”

The Goodspeed production brings the characters of Frogtown Hollow alive, mixing actors portraying the creatures along the river with specially designed puppets by The Henson Company. Henson’s handiwork adds a touch of warmth as well as zaniness to the musical. Think of the old Muppet Show with their madcap skits and humor. Director and choreographer Christopher Gattelli, who also helped out with the book, wonderfully weaves the live action and the assorted animal puppets into a heartwarming and touching Christmas story.

Loosely based on the O. Henry short story, "The Gift of the Magi," Emmet Otter and his mother secretly enter the town talent contest, sacrificing the other’s prized possession, in hopes of winning the fifty dollar grand prize, to make their loved one’s Christmas so memorable.

The musical is highly entertaining and touching at the same time, without all the gooiness associated with most holiday entertainments. The score by Paul Williams incorporates many different styles and shows why he is a Hall of Fame songwriter and multiple award winner. You can listen to two original songs, "Alice Keep Dreaming" and "Waterville," composed by Paul Williams for this stage version and sung by the composer. The human cast, outfitted in costumes by The Henson Company, is marvelous, staying in character without devolving into an overly preening caricature of the creatures they portray (click here to view a slide show of the preliminary costume sketches.)

Kudos to The Goodspeed Opera House and The Jim Henson Company for transforming a 1970’s television special into a magical stage experience for all ages. Let’s hope this production will become a holiday tradition mainstay in Connecticut. Now playing through January 4th.

Review of "Shrek the Musical"

2008-12-14T11:38:00.000-08:00

Disney has been very successful in transforming its animated movies into hit Broadway musicals. Beginning with Beauty and the Beast in 1994 through the current The Little Mermaid, Disney has produced some of the most enduring shows in Broadway history—Beauty and the Beast is the sixth longest running production in Broadway history and The Lion King is number nine and climbing.

Seeking to replicate Disney’s enviable stage achievements DreamWorks Animation established a theatrical division in 2007. Their first plunge into musical theater is Shrek the Musical based, primarily, on the first Shrek film. Happily, the production is as entertaining as the screen version, helped by a tuneful, breezy score; a first-rate cast, and sumptuous sets and costumes.

The plot deviates from the movie just at the beginning of the musical where Shrek is thrown out onto the unsuspecting world by his parents, as they gleefully sing about the “Big Bright Beautiful World.” From there the storyline follows the film as Shrek and his wise-cracking companion, Donkey, seek to overturn the edict by Lord Farquaad, which allowed the fairy tale characters in the land of Duloc to overrun the ogre’s swamp. Farquaad agrees to rescind his order so long as the green-skinned Shrek rescues Princess Fiona from the dragon guarded tower so she can be his bride. What makes the stage production of Shrek the Musical work is that it can be appreciated at many different levels—whether you are a tween or adult. Like the movie, this is not necessarily a children’s show, as evidenced early on during our introduction to the fairyland creatures.

Brian D’arcy James plays the hulking Shrek with a combination of pathos and braggadocio. His dramatic musical theater roles, most notably in Titanic and Sweet Smell of Success, has given James the background to present the character in more of a three-dimensional manner as opposed to a cookie cutter rendering as portrayed in the William Steig children’s book (which the movies are based on) or the aforementioned film version. Shrek may be misunderstood as be tramps, roars, and belches across the Broadway Theatre stage, but we also come to realize he is a living being with feelings, hopes and desires.

For the role of Princess Fiona the production required an actress who could more than stand up to Shrek’s shenanigans as well as the larger than life milieu of the show. Fortunately, an audience is once again blessed with Sutton Foster in the cast. Foster is the reigning queen of musical theater comedy as she so aptly demonstrated in Thoroughly Modern Millie and The Drowsy Chaperone (It also reveals how much her talents were wasted in Young Frankenstein). Her comedic timing is perfect and whether her character needs to execute the perfect pratfall, a rousing tap dance routine with the rats of Hamelin, or an emotion-laden ballad, Foster is more than up to the task. Her counterpoint to James’ Shrek gives the musical a necessary balance.

The third actor of this talented triumvirate is Christopher Seiber as the vertically challenged Lord Farquaand. Bringing to life the diminutive ruler was essential to the success of the production and the creative team has scored a knockout. It’s not worth the time to explain “how” they depict a pint-sized Seiber, but let it suffice that his mere presence on stage is hilarious not to mention his big dance numbers.

Two other cast members that deserve mention are Daniel Breaker as the quick quipped Donkey and John Tartaglia in multiple roles but, primarily, Pinocchio. Breaker ratchets up the energy level for his performance, only occasionally providing too much embellishment, while Tartaglia is a gem as the wooden puppet.

The score by Jeanine Tesori and David Lindsay-Abaire is light-hearted, cheerful, yet earnest in expressing the feelings and dreams of the denizens of Duloc. Tesori, who has penned the music for a number of Broadway productions, shows real craftsmanship and variety in her work, from the rousing “I Know It’s Today,” to the silly fanfare as the fairyland creatures depart from Shrek’s swamp. First-time lyricist, Lindsay-Abaire, who also wrote the book of the show, demonstrates he is more than up to the challenge of providing first-rate lyrics to a big budget, splashy Broadway musical.

Director Jason Moore never lets the show bog down, working well with his creative team and choreographer, Josh Prince. He incorporates enough schtick to keep the musical well-paced without descending to chaos. Only the castle scene that introduces Dragon is a bit slipshod and unbalanced.

The sets and costumes by Tim Hatley are both inspired and vibrant. He receives kudos for his outfitting of Shrek—yes, he is green—as well as his creative flair in bringing Lord Farquaand to life. His sets are whimsical and expressive without overpowering the show.

Choreographer Josh Prince adds some razzle dazzle to the musical with a couple of fanciful production numbers.

Shrek the Musical, a welcome addition to the soon-to-be depleted Broadway theatre scene.

Review of "Billy Elliot--the Musical"

2008-11-23T16:12:00.000-08:00

Every few years, if you’re lucky, a musical opens on Broadway that mesmerizes, where the sum of its parts creates a much larger whole. Billy Elliot-the Musical, the London import, is such a show. To put it simply, the musical dazzles—from the stunning dance routines to the overwhelming theatricality of the staging. Billy Elliot is one of those productions that actually deserves a standing ovation.

The musical, based on the 2000 movie, centers on a young lad in the north of England during the yearlong coal mining strike of 1984. Pushed, by his father, to take boxing lessons at the local hall Billy, instead, gravitates, inadvertently, to the ballet class run afterwards. Slowly, at first, Billy is drawn to this world where his gift for dance soon becomes apparent.

The show, like Billy himself, begins at a methodical pace. But once Billy finds his true calling, the musical bursts with a creative force that leaves the audience breathless. As with the hit London version, three youths rotate the part of Billy. In the production I attended Trent Kowalik played the part and he was, well, magnificent. Not only was his dancing awe-inspiring, but he can sing and act. For such a talented dancer he made the early scenes of awkwardness and uncertainty at the ballet studio highly believable. When Kowalik took the stage for one of the musical’s extended production numbers it was pure Broadway magic, the reason one goes to the theater, where you can attain a higher plain of entertainment.

But the production is not simply a vehicle to showcase the tremendously talented youths portraying Billy Elliot. Every element, as I stated at the beginning of this review, works in perfect harmony. First, and foremost, is Director Stephen Daldry, at the helm as he did in the acclaimed movie. Daldry, a longtime theater director, masterfully orchestras the visual tableau, whether it be an intimate moment between Billy and the harried, yet caring, dance instructor or, in collaboration with choreographer, Peter Darling, artfully integrating the dance sequences with the large ensemble on stage. Darling receives kudos for the sheer exquisiteness of his choreography—from the graceful ballet numbers to the razz-ma-tazz tap dancing. Combined with the grace and power of the performers, the choreography practically leaps from the stage.

What these men, plus the other creative forces behind Billy Elliot—the Musical have accomplished is forge a connection between the audience and cast. No small feat. We feel for the characters on stage, are aware of their bleak and difficult lives in the northern coal mining district of England. Librettist Lee Hall has done a marvelous job in translating his screenplay to the stage, instilling honest, heartfelt emotions without being overly sentimental and sappy.

The score by Elton John may be his most satisfying Broadway composition yet. Along with lyrics by Lee Hall, John has structured a series of songs that can be solemn and poignant; evoke the grittiness, urgency and intensity of the miner’s plight, and give the necessary backdrop to the rousing and playful dance numbers.

The cast is outstanding. Besides the aforementioned Trent Kowalik the standouts include Haydn Gwynne as the frazzled, but good-hearted dance instructor, Mrs. Wilkinson; Gregory Jbara as Billy’s world-weary, boisterous father; and Frank Dolce as Billy’s fun-loving and exuberant best friend, Michael.

One note about the musical—while Billy Elliot is great family fare there is some, shall we say, colorful language spouted by various players throughout the production. It should not prevent parents from taking their children, but a pre-show conversation forewarning them may be best.

Billy Elliot—the Musical, finally a Broadway musical you can stand up and cheer for.

Review of "A Tale of Two Cities"

2008-10-08T19:54:00.000-07:00

The French Revolution lives again in the new Broadway musical, “A Tale of Two Cities.” Based on the Charles Dickens classic novel of love, courage, betrayal, and sacrifice, “A Tale of Two Cities” is presented in Cliff Notes fashion—hitting all the important plot and character points of the intricately woven story. Initially, the musical proceeds at a brisk pace which, for those unfamiliar with Dickens’ work, allows the drama to build to a satisfying first act climax. However, theatergoers looking for more breadth and depth on the Hirschfield Theatre stage will be sorely disappointed.

The second act compounds the drawback. Even though it encompasses just the latter third of the book, providing more time for the action to unfold, the libretto becomes a bit too ponderous for the production’s own good. This is one of the three major shortcomings of “A Tale of Two Cities.”

The second problem is when the musical veers towards “Les Mis” territory. Comparisons, fair or not, are going to be made between the two historic flavored musicals. But “Les Miseables,” one of the longest running shows in Broadway history was, all around, a stronger, more compelling production. When the cast of “A Tale of Two Cities” lined the stage during the Act I finale, “Until Tomorrow,” I thought I was staring at a revisionist staging of the Alain Boublil - Claude-Michel Schönberg classic.

The primary setback for “A Tale of Two Cities” is the rather lackluster score, punctuated here and there with Frank Wildhorn styled power ballads. A musical undertaking of such a well-known, well-regarded and lengthy tome as “A Tale of Two Cities” needs to possess songs worthy of the Dickens saga. First time composer Jill Santoriello (who performs a trifecta by also writing the musical’s book) is simply not up to the task. While the score is not totally unimpressive the songs cannot rescue the show from its own weightiness and self-importance.

Yet with all the demerits affixed to the production, “A Tale of Two Cities” is somewhat salvaged by the performances of the three leading players. Brandi Burkhardt is beautiful, with a gorgeous voice, as the compelling Luci Manette. Aaron Lazar, handsome, upright and committed, perfectly embodies the spirit of Charles Darnay; while James Barbour has been ideally cast as the doomed Sydney Carton. Barbour’s voice is especially noteworthy, wringing all the emotions he can out of each and every one of his solos. Special mention goes to Nicky Wyman as the scoundrelous John Barsad. Wyman plays the rogue with such relish that you wish Santoriello had more fully shaped the other supporting characters with such three dimensional aplomb.

Tony Walton’s prominent set design, moveable skyward towers, allows for a winning variety of abstract constructs throughout the show. While not ideal, for a musical of this magnitude, they allow for the momentum of the show to carry forward.

Warren Carlyle’s direction gives ample stage time to the three principles, allowing them to bring their forceful presence to the forefront. However, his fast-paced tempo of the show’s beginnings is allowed to implode under its own girth by the musical’s end.

“A Tale of Two Cities” – now at the Al Hirschfield Theater in New York.

Review of "Half a Sixpence'

2008-08-17T19:12:00.000-07:00

Take the age old story of boy-meets-girl, boy-loses-girl, boy-wins-girl-back; add a touch of Pygmalion; crowd pleasing choreography; and an endearing and beguiling lead character; and you have the key ingredients to The Goodspeed Opera House’s winning production of the infrequently revived, Half a Sixpence. Based on the H.G. Wells novel, “Kipps,” the musical follows shop clerk Arthur Kipps, an everyman’s bloke in the seaside town of Folkstone, as he woos his childhood sweetheart, Ann. Along the way Kipp’s financial fortunes take a huge leap forward and his romantic courtship becomes temporarily sidetracked. Social class and standing are also an underlying theme throughout the show.

Steeped in the British music hall tradition, Half a Sixpence boasts numerous large-scale production numbers that are as delectable and frothy as any of the confections sold along the seaside’s boardwalks. Choreographer Patti Colombo pulls out all the stops in her inventive and rousing dance routines, most of the time employing all of the large cast on the diminutive Goodspeed stage.

Central to the show’s sustainability and enjoyment is the lead actor portraying Arthur Kipps. The person needs to be a sure-fire triple threat—singing, dancing, and acting up a storm. Without the proper fit, the musical would languish under Beverley Cross’ rather pedestrian book. Fortunately, Goodspeed landed Jon Peterson for the role of Kipps. He is an engaging and affable performer that immediately connects with the audience. Peterson is the type of mate you’d go out to have a beer with or just shoot the breeze. He brings a satisfying singing voice and dazzling, athletic dance moves to the role.

The rest of the sizeable cast is professional and spirited, most notably Jeff Skowron as the bon vivant playwright, Chitterlow. The one shortcoming was the rather lackluster chemistry between Peterson and Sara Gettelfinger, who portrays the love of his life, Ann. For a couple supposedly smitten with each other, their scenes together produced far too few sparks.

The lean score by David Heneker provides a number of gems including the rousing “Money to Burn,” “If the Rain’s Got to Fall,” and “Flash, Bang, Wallop;” and the lovely ballads, “Long Ago’” and “I Know What I Am.” Selections from Half a Sixpence can be heard on the August 10, 2008 edition of my radio program, "On Broadway." The production numbers accompanying “If the Rain’s Got to Fall,” and “Flash, Bang, Wallop” alone are worth the price of admission.

The creative team of Rob Bissinger, scenic design; David Woolard, costumes; and Jeff Croiter, lighting design; provide the musical with an authentic feel for a turn-of-the-century English coastal town where the working class and the upper stratum of society exist side by side.

Director Gordon Greenberg deftly guides the action through the multiple set changes, keeping the buoyancy of the production gliding along smoothly throughout.

“Half a Sixpence,” a flash, bang, wallop of a show, now at The Goodspeed Opera House through September 19, 2008.

Review of [title of show]

2008-07-27T16:25:00.000-07:00

[title of show], the first musical of the new Broadway season, gives hope to the multitudes of individuals that dream of creating a show for The Great White Way. Hunter Bell, who wrote the show’s book; and Jeff Bowen, the score; were two out of work actors when the genesis of their quirky, decidedly downtown flavored show, came together. Simply, with three weeks until the submission deadline for the 2004 New York Musical Theater Festival, the two thespians concocted a musical based on two struggling actors named, surprisingly, Jeff and Hunter, who have only three weeks to write a musical for an upcoming festival. The rest is, as they say, theatrical history:

their entry was accepted.
after playing their six performances at the New York Musical Theater Festival, an Off-Broadway producer optioned the production for an open run at the Vineyard Theater.
a cast album was recorded and released on Ghostlight Records.
after the Off-Broadway stint, the two collaborators produced a series of Internet videos for YouTube to keep interest in their off-spring alive.
the videos reignited interest from producers.
the newly tweaked [title of show] opened on Broadway.

So, what exactly is [title of show]? Well, it is not a large scale musical with a huge cast, lavish sets, over produced production numbers, or a fully stocked pit band. [title of show] consists of four, casually dressed people—Hunter Bell and Jeff Bowen, and their two female friends—Susan Blackwell and Heidi Blickenstaff--who work on bringing the musical to life in Hunter’s slightly drab apartment. With only four chairs on stage, along with musical director, Larry Pressgrove, sitting behind his keyboard—the sole musical accompaniment, [title of show] concentrates on the actor’s angst and insecurities and, finally, their exuberance as they conceive and mold their show.

The 90 minute, intermissionless production, caters to a more knowing theater going crowd then a bridge and tunnel or tourist clientele. Obscure musical theater and cultural references populate the show. One ongoing gimmick is listening to the playback of Hunter’s answering machine as one musical theater actress after another, including Marin Mazzie, Alice Ripley, and Christine Ebersole, turn down an offer to appear in their show. The casual theater going public would probably be scratching their head for lack of recognition (okay, they would know Patti Lupone), but for people like myself the bit brought a knowing smile.

One of the best numbers in the production is a showcase for the arcane as memorable, and not so memorable, Broadway flops are commemorated in the song, “Monkeys and Playbills,” which incorporates the titles of such failed shows as “Dude,” “Merrily We Roll Along,” “Smile” and many others into the lyrics of the song. The July 27, 2008 broadcast of “On Broadway” features these songs.

The four actors are affable and funny while at the same time exuding the whole gamut of emotions—the good, the bad, the ugly--inherent in individuals pursing the acting profession. The score can be witty and knowing; the direction and choreography by Michael Berresse is breezy and light.

[title of show], a musical that provides proof in the power of positive thinking as well as being a tonic for all the musical theater aficionados in the world.

Thoughts on Tony Telecast and Awards

2008-06-16T06:36:00.000-07:00

Here are some random thoughts about the Tony telecast and the winners in the musical theatre category…

Was anyone else mystified with the opening of the ceremony? Why the prolonged opening from “The Lion King?” I know it is the ten year anniversary, but wasn't it a bit of overkill? Great commercial for the show. If I was one of the production’s producers I would have been salivating! I was also a bit underwhelmed with the parade of beasts which is interesting since, when I saw the musical, when it first opened I thought it was one of the most magical moments in theatre history. Note to Tony producers about the opening of the program—how about something a bit more imaginative for next year? What about some great musical production numbers from year’s past?
I was not happy when Whoopi Goldberg was announced as host of the Tony telecast. I don’t find her funny or very good as a master-of-ceremonies. But, I will admit, I found her innocuous as emcee, staying out of the way of the proceedings. Good for her.
Musical excerpts from Best Musical nominated shows—
“In the Heights” – vibrant, exciting, showing off the energy of the musical. Great choice.
“Passing Strange” – well, I don’t know what Mr. and Mrs. Midwest thought of Stew prancing around the stage. Good choice, but will it translate into increased box office bucks?
“Xanadu” – poor choice for a show that prides itself on its zaniness. The musical's opening number, “I’m Alive,” would have been a better showcase for the show since it beautifully captures the inspired silliness of the production.
“Cry Baby” – insipid, loud, unimaginative number. I can’t believe the show hasn’t closed by now.
Musical excerpts from Best Musical Revivals—
“Grease” – my problem is I actually saw the original with Barry Botswick as Danny Zucco and it was one of the funniest, most entertaining shows I have ever seen. Every revival since has been dreadful. Starting this production number with a song from the movie version turned me off immediately. It was bland and vapid and a good excuse for a snack break.
“Sunday in the Park with George” – not a great fan of the show, but a fine performance two superb actors.
“South Pacific” – nicely done incorporating three memorable songs from the show. They beautifully showcased three of the nominees. Good job.
“Gypsy”– also a fine choice that included, what ended up to be three Tony winners, but also served as a national showcase for the raw power Patti Lupone brings to the role of Mama Rose. A tour de force triumph!
Speaking of Ms. Lupone, GREAT acceptance speech. Over the top, but entertaining at the same time.
Reunion of the original cast of “Rent” was nostalgic, but a bit humdrum. There could have been a better way to send off one of the longest running shows in Broadway history.
Other musical numbers from current musicals were lackluster and dull--
“A Catered Affair” -- It won't have the bridge and tunnel crowd racing to the box office after their stodgy selection.
“Young Frankenstein!” -- What a lifeless number. I’m not a big fan of the musical, but “Transylvania Mania” would have been more rollicking, roll in the hay, fun.
Thank you for no insipid bantering among presenters.
My track record on picks…not too bad. I correctly chose all the winners except for Best Book—how “Passing Strange” could win the award while “In the Heights” wins all the other major honors is a mystery (I picked “In the Heights”). I also thought Christopher Fitzgerald should have won for Best Supporting Actor over Boyd Gaines. Not to say Gaines was unworthy, but Fitzgerald’s Igor was one of the saving graces of “Young Frankenstein.” He made the part his own, almost making you forget about Marty Feldman’s inspired lunacy from the movie.
Overall, the telecast receives a C+. Suggestions for next year—a more lively host (do I hear Billy Crystal?) and some big prodution numbers. Show people what Broadway is all about!!

Review of "Happy Days--the Musical"

2008-05-12T06:06:00.000-07:00

“Happy Days,” the musical spawned by the long running television show, now playing at the Goodspeed Opera House in East Haddam, CT, is pure unadulterated fun—no hidden agendas, no secret plot lines, no surprise endings, just wholesome entertainment like…like…well like what the TV show was all about.

All the gang is on stage singing and dancing—Richie, Potsie, Ralph, Joanie, Chachi, Pinky and, of course, The Fonz. They are out to prevent their beloved Arnold’s from turning into a, heaven forbid, parking lot.

Garry Marshall, creator of the original series, has penned a book that provides more than its fair share of laughs but, more importantly, plays it straight as opposed to devolving into self-parody. That’s what has killed all the revivals of “Grease” over the yeas. The actors portraying Danny Zucco now strut, pose and prance around the stage which has the affect of breaking down the fourth wall between audience members and cast, throwing off the pacing of that show. The creative team behind “Happy Days” have wisely steered the straight and narrow, doing without the winks and nods to the audience and allowing the musical to advance at a brisk pace, providing a festive diversion in the theater.

The cast is uniformily fine. Some of the standouts included the cuties Joanie and Chachi, played by Savannah Wise and Lannon Killea, respectively; the hard-edged, but sultry Sandra DeNise as The Fonz’s love interest, Pinky; Cynthia Ferrer as the housebound, perfect housewife, Mrs. C.; Matt Walker providing a nice comedic touch in a variety of roles; and Joey Sorge who does a dead-on Fonzie. Fonzie is the center of the production. Someone less confident in the role would cause the musical to sag at all the wrong places but, while Sorge won’t make you forget Henry Winkler, he provides the glue that holds the show together.

Paul Williams’ score serves the production well with such songs as “What I Dreamed Last Night,” “Run,” “Ordinary Hero,” and the end of Act I production number, “Heartbeat,” artfully and energetically choreographed by Michele Lynch who makes the Goodspeed stage come alive throughout the show.

Director Gordon Greenberg knows the material he is dealing with borders on fluff, yet he gives the show a light-handed, sprightly feel that captures the essence of Milwaukee in the late 1950’s.

The one stone I’ll throw concerns the need to have some familiarity with the TV show. Without some knowledge of Richie and company “Happy Days” might not be as enjoyable and even a bit puzzling. But I nitpick.

“Happy Days—the Musical,” joyously ensconced at the Goodspeed Opera House thru June 29th.

[Note: “Happy Days” is scheduled to tour around the country beginning in Fall 2008.]

Review of "Gypsy"

2008-04-23T11:51:00.000-07:00

One of the great injustices of the last twenty years in musical theater has been the absence of Patti LuPone on the Broadway musical stage. Between 1987’s acclaimed revival of “Anything Goes” until her portrayal of Miss Lovett in John Doyle’s 2005 stripped down “Sweeney Todd,” Ms. Lupone’s powerful, full-throttled vocals were on display elsewhere, outside New York City. Fortunately, the fiery diva is back as the mother of all stage mothers, Mama Rose, in the revival of “Gypsy.”

Patti LuPone’s portrayal is gut-wrenching, heart-breaking, pathetic, and poignant. She trods the St. James Theatre stage like a wounded animal ready to pounce at the slightest provocation. Her sole intent, with equal parts bullying, threatening, cajoling, and chutzpah, is to make her daughter—first Baby June, and then Louise—a star.

But what of the voice? That powerhouse instrument that gave me goose bumps when I sat in the audience watching “Anything Goes” so many years ago? Happily, its never been better, with such classics as “Some People,” “Small World,” “Everthing’s Coming Up Roses,” and “Rose’s Turn,” to savor. One of bonuses about the production is a full, 8-10 person, mini-orchestra with strings, horns, even a kettle drum playing the Jule Styne-Stephen Sondheim score. Situated on the stage, behind a curtain, the production begins with the musicians out front on the bare stage lovingly running through the overture—yes, a real, honest to goodness overture. What a delight!

Supporting Patti LuPone is a first rate group of performers. Boyd Gaines is understated but forceful as the milquetoast Herbie; Laura Benati is convincing as she transforms from shy, reserved Louise to the self-assured and dominating Gypsy Rose Lee. In smaller roles are the marvelous scene stealing Alison Fraser as the self-loathing, but good-hearted stripper, Tessie Tura; and Leona Nemetz in the dual role of the boisterous burlesque performer, Mazeppa and the tightly wound secretary, Miss Cratchitt.

Even with the praise I can heap on this revival, the production did drag at some points, primarily when Ms. LuPone was not center stage. The primary culprit is Arthur Laurents’ book, which he wrote almost 40 years ago. At times the musical seems like a play with music. As it is, the show lasts almost three hours. Laurents direction could also be tighter especially when the kids are involved.

Jerome Robbins’ choreography, while not one of the high points of the production, is faithfully reproduced.

All in all, “Gypsy” is a show you do not want to miss, primarily because of Patti Lupone’s riveting performance. You just don’t know how many more musical roles are left for her on the Broadway stage.

Review of "In The Heights"

2008-03-24T13:03:00.000-07:00

“In the Heights,” last season’s critical and commercial Off-Broadway hit, has now transferred to Broadway where its vibrancy and pulsating rhythms ignite the Richard Rodgers Theatre. The show, with touches of joy and sorrow, focuses on the changing lives that affect a small street corner in the Washington Heights area of New York City. Lin-Manuel Miranda, the star as well as composer, serves as ringmaster/narrator from his small bodega (a tiny grocery store) in the neighborhood around 181st and Broadway. There, he dispenses coffee and advice while also pursuing the love of his life. But his story is just one of many artfully woven together by librettist Quiara Alegria Hudes. The flow of the musical has an organic earthiness to it, where the action has an intuitive ebb and flow.

The choreography by Andy Blankenbuehler exemplifies this point. Where most Broadway musicals telegraph the big production number, the dances of “In The Heights” evolve naturally within the plot lines. They are street smart and dynamic, giving the audience a feel for the latino culture on Manhattan’s northern boundary.

The cast is uniformily superb and while all deserve praise and mention, the real standouts include Lin-Manuel Miranda as Usnavi (Think U.S. Navy. The joke is explained in the show), Mandy Gonzalez as Nina, the one who’s brains and drive allowed her to escape her past; Robin De Jesus, a buddy, partner and comic foil all wrapped up in one; and Olga Merediz as the old sage of the block, Abuela. Even more noteworthy are the raw emotions these actors and actresses are able to generate. For most musicals my connection with the performers is usually muted. In “In The Heights” I deeply cared what would happen to the character’s lives, which further drew me into their world.

The score by Lin-Manual Miranda is exhilarating and of the moment. Combining salsa, latin rhythms and rap, Miranda successfully manages to introduce to the Broadway masses the music and sounds heard throughout Washington Heights. What’s more, was the delivery of each song. The ballads are heartfelt and the uptempo numbers seethe with urgency.

Keeping all the swirling components of the show working like clockwork is Director Thomas Kail. In less assured hands, the musical could become conventional or prosaic. But Kail, expertly collaborating with his other creative partners, makes “In The Heights” anything but pedestrian.

“In The Heights,” a show that gives this Broadway season something to rave about.

Review of "November"

2008-02-03T20:14:00.000-08:00

Tired of presidential politics? Sick of all those political ads? Annoying pollsters and intrusive phone calls? Can’t wait for the Super Tuesday primaries to be over? The frenzied tonic of an answer is located at the Ethel Barrymore Theater in David Mamet’s new comedy, “November.” This is not the dour Mamet of “American Buffalo” or “Glengarry Glen Ross,” but a more puckish playwright out to skewer presidential politics and, not too subtly, the current occupant of the oval office.

Starring Nathan Lane as a buffoon of a Commander-in-Chief, “November” zeroes in on the Almighty Dollar and its role in presidential elections and beyond. The premise of the show is simple. Lane’s character, President Charles Smith, is despised by just about everyone in the United States, which is putting a damper on his reelection bid. This has negatively affected his fund-raising ability for a last minute TV blitz as well as his attempts to raise money for a much-desired Presidential Library. The solution? Fleece the turkey lobby, seeking the ceremonial pardon of the Thanksgiving bird, in exchange for millions in donations. Add in complications and sermonizing on same sex marriage and you have the ingredients for a mostly comical and entertaining time in the theater.

In typical Mamet fashion the dialogue is fast and furious and the expletives are numerous. The superb cast, headed by Lane, Dylan Baker and Laurie Metcalf, are more then up to the challenge of taking Mamet’s sometimes absurdist and manic notions and delivering an intoxicating mixture of laughs and jabs.

The focus is on Lane, the bigoted, racist, xenophobic and homophobic President of the United States (I don’t think I left out any other phobias). He’s overwrought, slightly demented, and somewhat intellectually challenged. Lane plays the role to perfection. Buried beneath all the President’s faults and blemishes is a heart, not quite of gold, but a heart nonetheless. Lane is a master of the slow burn, or the arched eyebrow to make a point. He has an accomplished foil in Dylan Baker as Archer Brown, Chief of Staff. Baker is droll, straight-faced and a more calming compliment to Lane’s often caustic character. Laurie Metcalfe, the harried, principled and overwhelmed presidential speechwriter is more than a match for Lane’s bullying President.

Joe Mantello directs with a tight rein, yet gives his actors plenty of room to maneuver, a necessity with the likes of Nathan Lane prowling the stage.

The climax of “November” is, unfortunately, not a satisfying conclusion. Still, “November” is funny and timely. In political parlance think of it as in between a Florida and Ohio primary, just not a California blockbuster.

Review of "Is He Dead?"

2008-01-29T07:02:00.000-08:00

“Is He Dead?,” the Mark Twain comedy recently unearthed by scholars, now on Broadway, will have a great afterlife in summer stock and community theater. The show provides a fistful of laughs, has a silly, yet gratifying plotline, plum roles for actors and actresses, and the chance for the star to play in drag. What more could middle American want?

This is not to detract for what we see on the Lyceum stage, but an acknowledgement that “Is He Dead?” is more a humorous bauble rather than a side-splitting pearl.

The show’s setup revolves around the fact that the paintings of dead artists bring in more money than live ones. Building on this premise sets Twain’s action in motion, mostly to entertaining effect. “Is He Dead?” is not a Neil Simon gag-a-minute laugh fest, but a more cheerful, clownish affair. What makes the production a success is a top notch cast and tight, yet playful, direction by Michael Blakemore.

The performers are led by a slimmed down Norbert Leo Butz as Jean-Francois Millet, France’s greatest painter, when dead. Butz is gregarious, looney, and self-indulgent—ingredients that add up to a near riotous spectacle. John McMartin’s Papa Leroux, near death in Act I, transforms to a lecherous old goat in Act II to comic perfection. Michael McGrath is more understated than in some of his better roles, but his Agememnon sets in motion the play’s premise and presides over the action like a seasoned ringleader. Jenn Gambatese as Millet’s love interest, Marie, is vulnerable and endearing; and Byron Jennings, a cross between Flash Gordon’s Ming the Merciless and a moustached Wild West villain, plays art dealer, Bastien Andre, with just the right amount of slimy ooze. Special kudos, however, go to David Pittu. Playing multiple cameo roles, one more hilarious than the next, Pittu energizes the proceedings without halting the action. Without his talented turn “Is He Dead?” would not be half as funny. The rest of the cast contributes soundly making “Is He Dead?” a satisfying production.

Review of "The Little Mermaid"

2008-01-27T19:07:00.000-08:00

Disney’s stage musicals of its animated movie classics have succeeded because of their creative and imaginative theatricality along with a spoonful of Disney magic. Think of Ann Hould-Ward’s whimsical costumes in “Beauty and the Beast” or the Beast’s spellbinding transformation at the conclusion of that long running show. Or Julie Taymor’s inspired reengineering of “The Lion King” along with her ingenious and breakthrough use of puppertry.

Disappointingly, Disney’s lastest Broadway entry, “The Little Mermaid,” lacks the ingredients so integral to these past successes. The bold, fluid vision that is a Disney hallmark is distressingly lacking. The “Under the Sea” production number is a perfect example. What should be a joyous, raucous, costumed extravaganza is an insipid, watery mess. Tatiana Noginova’s costumes are an embarrassment to the Disney legacy and the energy level would put hermit crab, Sebastian, to sleep. And what are those totem pole-like structures suppose to represent? Flowering underwater trees? Blossoming sea anemones?

The musical’s climatic battle scene with the sea witch is, no pun intended, a Mickey Mouse and lackluster whimper instead of a thundering finale.

So, is “The Little Mermaid” the disaster some have opined? No, in fact young children and tweens might find the production wholly satisfying. While the aforementioned “Under the Sea” number sinks, the tender “Kiss the Girl,” with its understated approach, demonstrates what could have been.

Yet, unlike “Beauty and the Beast” and “The Lion King,” which had entertainment value for grown-ups, “The Little Mermaid” is purely a young person experience.

The musical handles the underwater locale with a certain amount of illusionary success. The impression of gliding through the ocean depths is accomplished using heelys, wheels attached to the web-wear of the mer-people and other assorted undersea characters. But suspension of belief and flickers of stage trickery go only so far. Act I has its moments; Act II seemed like an eternity.

Francesca Zambello’s direction seems scattered, sometimes inspiring, all too often colorless and drab. The same can be said of Stephen Mear’s choreography.

The score, with new material by composer Alan Menken and lyricist Glenn Slater, is underwhelming except for the handful of memorable songs from the movie.

The cast is uniformly fine. Newcomer Sierra Bogges as Ariel, is pretty, pert, and has a lovely singing voice. Eddie Korbich brings much needed comic relief to the show as Scuttle the seagull; Sean Palmer, is flavorless and bland, yet pleasingly sufficient as Prince Eric; and Tituss Burgess has a grand time scurrying across the Lunt-Fontaine stage as the manic Sebastian. However, all others pale aside Sherie Rene Scott as Ursula the eight armed sea witch. Scott is truly menacing in the Disney villain tradition. She seems to relish her role, giving an over-the-top performance. If there is no other reason to pluck down your money for “The Little Mermaid” Sherie Rene Scott is grand justification.

Review of "Young Frankenstein"

2007-11-20T11:56:00.000-08:00

The big question on Broadway this year—besides when will the stagehand strike be settled—concerns the new Mel Brooks musical, “Young Frankenstein.” Will it live up to all its pre-opening hype? Will it be the critical and commercial success of Brooks’ last outing on Broadway with “The Producers?” Disappointingly, the answer is no. Sure, the advance sales will keep the SRO sign posted for months and months. But the production falls flat in a number of significant ways with only a few glimmers of maniacal and creative genius.

So, what’s the problem? First, and foremost, is Roger Bart as Dr. Frederick Frankenstein. Bart, who has been outstanding in supporting roles on Broadway—“You’re A Good Man, Charlie Brown” and “The Producers”—lacks the comedic playfulness and repressed energy necessary to hold the show together. Instead of being the point person, in this highly talented ensemble of musical comedy veterans, Bart too often blends in with the pack, fading instead of shining. Secondly, the delivery of the best jokes and funniest scenes from the movie, which the show is based on, fall flat. Actually, flat may be kind. Most of the time there is a monumental thud. Again, I fault Bart for his bland intonation and total lack of comedic timing. Director Susan Stroman should also be blamed for allowing some of the most highly anticipated moments of the production to become mere throwaway lines.

Lastly, as I just stated, this has to be one of the most highly regarded musical comedy casts that has been assembled since…well, since “The Producers.” Each member has their moment—from Megan Mullaly’s beltings to Sutton Foster’s acrobatic schtick to Andrea Martin’s enigmatic Frau Blucher, but the flow and continuity of the production suffers while each actor, in a sense, takes their turn in the sun. In film, where a director can call for a close-up or two-shot, the actor’s on-screen presence can be totally controlled. In a big, Broadway musical the director and book writers do not have the luxury of homing in on a select few characters while the others simply stand around. Everyone on stage needs to be in the mix. Too often in “Young Frankenstein” it seems central cast members are just hanging about, almost loitering within the confines of Robin Wagner’s imposing sets.

So, is there anything positive to say about “Young Frankenstein?” Sure. This is not a Broadway bomb, far from it. Christopher Fitzgerald, as Igor, totally embodies the zaniness of his character, cavorting merrily about the Hilton Theater stage. Shuler Hensley is both menacing and hilarious as the monster. His big production number in “Puttin’ on the Ritz,” is the absolute highlight of the musical. If the inspired inventiveness and creativity of that scene was replicated throughout the show then “Young Frankenstein” would be elevated to comic brilliance.

As mentioned, Robin Wagner’s sets, especially Dr. Frankenstein’s vast laboratory, are outstanding. The rest of the creative team, from Peter Kaczorowski’s lighting designs to the sound design by Jonathan Deans to Marc Brickman’s special effects, also deserve kudos. Mel Brooks’ score has its moments, producing a titter here and there, but nothing to match the wit and acumen of “The Producers.” Likewise, Susan Stroman’s direction can be problematic; her choreography conventional and overall unsatisfying.

“Young Frankenstein,” entertaining and a pleasant diversion, but not the monster hit one had hoped for.

Review of the Broadway Musical, Xanadu

2007-10-07T19:16:00.000-07:00

Xanadu, the first Broadway musical of the year, is…well, silly. Silly, daffy, and with a generous helping of camp, Xanadu seems like it would be more at home at the New York Fringe Festival or some Off-Broadway theatre in the Village. However, here it is, ensconced at the tiny Helen Hayes Theater providing a jolt of lovable lunacy for Broadway theatergoers.

Based on the 1980 movie flop of the same name, Xanadu tells the story of nine sisterly Greek muses (actually seven) who appear in Venice Beach, California to save and inspire the soul of a failed artist named Sonny. Led by the youngest of the group, Clio, who in her humanly form is now an Australian named Kira (remember the movie starred Australian Olivia Newton-John), the band of merry conspirators help Sonny fulfill his artistic vision by opening a roller disco. Yes, a roller disco. Remember, this is 1980. Throw in some evil shenanigans by two of the sisterly muses, the collusion of an aged real estate mogul and, of course, the forbidden love between Sonny and Kira, and you have the whole whacked out scenario.

Xanadu works, most of the time, due to its infectious joyfulness typified by the off-the-wall nuttiness in the opening number, “I’m Alive.” The show teeters on the verge of plunging down the abyss of excess but, through the strength of its nostalgic score and winning performances, rights itself time and time again.

The songs, especially for baby boomers like me, are a sheer delight. There is a generous helping of Electric Light Orchestra hits—“Evil Woman,” “Strange Magic,” and “All Over The World” along with soft rock standards by Olivia Newton-John such as “Magic,” “Have You Ever Been Mellow,” and the title song, “Xanadu.” They are delivered by an engaging cast headed by Kerry Butler as Kira. Butler, who came to prominence as the ditsy Penny Pingleton in the original cast of “Hairspray”, demonstrates her comic talents once again, as she sings and skates through Douglas Carter Beane’s stripped down and breezy book. Mary Testa and Jackie Hoffman, two theatrical veterans, are superb as the oft-kilter, maniacal muses plotting Kira’s demise. Cheyenne Jackson, who normally plays the creatively challenged artist, Sonny, was out of the show the night I went and Curtis Holbrook, his stand-in, was only serviceable at best. Tony Roberts, still pounding the boards, adds a bit of stability, just a bit, to the musical’s hijinks.

Director Christopher Ashley keeps the pulsating action flowing so effortlessly that the one and one-half hours of intermission less daftness breezily and carelessly flies by.

Xanadu, something out of the ordinary from your more traditional Broadway musical. Not necessarily a production for the unadventurous, but a satisfying dollop of sustained and entertaining silliness.

High Button Shoes at Goodspeed Opera House

2007-08-27T07:21:00.000-07:00

Connecticut is home to a number of first rate theatrical companies. My favorite is the Goodspeed Opera House in East Haddam. Their mission is twofold. First, is the advancement of musical theatre, which was the impetus for their original stagings of Man of LaMancha, Shenandoah, and Annie before they headed to very lengthy runs on Broadway. Second, is “the preservation… of musical theatre.” Since 1963 Goodspeed has presented well-known and beloved musical productions as well as lesser known gems. Their second offering this year, High Button Shoes, falls into the latter category.

This rarely produced Jule Styne-Sammy Cahn show, originally directed by George Abbot (who co-wrote the book) and choreographed by Jerome Robbins, revolves around con man Harrison Floy and his sidekick, Mr. Pontdue as they repeatedly attempt to bamboozle the populace of New Brunswick, NJ. Throw in the Rutgers University Scarlet Knights football team, a love story, the Keystone Kops, and a happy ending and you have the basic ingredients for this immensely pleasurable show.

Stephen Bienske embodies the scheming, slippery, flim flam artist, Harrison Floy (portrayed in the 1947 production by Phil Silvers) with a sophisticated and refined contemptibility. While he plays the role with perfect aplomb, his characterization would be more believable (and enjoyable) if there was somewhat of a sleazier edge in his depiction of Floy—think Silvers or Robert Preston (a la The Music Man). But I’m nitpicking. High Button Shoes is probably one of the best cast musicals I have seen at Goodspeed in years. Every actor and actress fits their role beautifully. From the young lovers, ingénue Russell Arden Koplin as Miss Fran Beck; and Brian Hissong, as football star, Hubert Ogglethorpe; to the poignantly portrayed Mama and Papa Longstreet, played by Jennifer Allen and William Parry.

Director Greg Ganakas manages to keep the action moving along, especially in the somewhat slow-moving First Act, building towards the Second Act one-two opener, the cheery, “On A Sunday by The Sea,” and the wild and frenetic “Keystone Kop Ballet,” a merry romp in and around Atlantic City’s bath tents and boardwalk. Augmenting Ganakas’ work is choreographer Linda Goodrich, once again demonstrating how a seasoned professional can take such a small space—both on and off stage—and create sheer dancing magic. Two other members of the creative team worth noting are scenery designer Howard Chrisman Jones, for his varied and fully conceived depictions of life around the turn-of-the-century; and costume designer Gregory Gale for a slew of gorgeous and sumptuous outfits. Bravo.

The score by the aforementioned Styne and Cahn has a number of exceptional tunes including “Papa, Won’t You Dance With Me,” “Nobody Ever Died For Dear Old Rutgers,” and “I Still Get Jealous.” The latter song, sung by Jennifer Allen and William Parry is a simple, heart-warming number with a bit of the old soft shoe. The two theater veterans command the stage with no pyrotechnics or overstuffed orchestrations to clutter their style. A pure joy to behold.

High Button Shoes, the perfect respite for the last days of summer. Now through September 22nd at the Goodspeed Opera House.

Anticipated Musicals for 07-08

2007-08-07T17:34:00.000-07:00

I’m back. My wife and I were over in Europe for a few weeks and, while I had all the best intentions of writing my blog from some smoky Internet Café while sipping expresso and noshing on a delectable and flaky pastry, I just never found the time. Can you blame me? Tour the massive St. Stephen's Basilica’s in Budapest or roam the old quarter of Innsbruck, for example, or hang out for a few hours in front of a blinking computer screen? I think you get the picture.

Anyway, August is here and the start of the new Broadway season has already begun—the well-received “Xanadu,” the first musical of the year, is now encamped at the Music Box Theater. Perusing the list of upcoming shows, there are three I am looking forward to with much anticipation:

Young Frankenstein—probably the most anticipated new musical of the year. And why not? It’s the same creative team—Director/Choreographer, Susam Stroman; score and libretto by Mel Brooks and Thomas Meeha--that brought us the blockbuster version of that other Mel Brooks movie, “The Producers.” As with “The Producers,” “Young Frankenstein” boasts a dream cast—Roger Bart (“The Producers” and revival of “You’re A Good Man Charlie Brown”), as Dr. Frankenstein; Sutton Foster (“Thoroughly Modern Millie” and “The Drowsy Chaperone”, as Inga; Megan Mullally (revival of “How To Succeed…”), as Elizabeth (the Madeline Kahn role in the movie); Shuler Hensley (“Oklahoma” and “Tarzan”), as the Monster; and Andrea Martin (“My Favorite Year” and revival of “Fiddler on the Roof”), as Frau Blucher. There are probably more Tony winners in the cast than any show in Broadway history! If Brooks and company can, once again, reproduce the zaniness of the movie on stage a long run is in store. In addition to seeing such an accomplished group of actors on stage I am also looking forward to hearing the Mel Brooks score. Brooks has been writing songs for decades, even being nominated for an Academy Award for the title song from “Blazing Saddles.” The score for “The Producers” was quite good. Hopefully, lightning will strike twice.

The Little Mermaid—okay, you are probably wondering why I would be looking forward to another Disney kiddie musical. Well, there are a couple of reasons. No matter what you think of Disney’s invasion of Broadway over the years you cannot dispute the fact that all the shows have been first-rate, especially the production values. From the costumes in “Beauty and the Beast” to the puppet wizardry in “The Lion King” to the sets of “Aida” and “Mary Poppins” (I wasn’t a big fan of “Tarzan”), Disney shows have been a wonder for the eyes. So, I am VERY curious how they will produce the underwater kingdom of Ariel and company. Secondly, Sherie Rene Scott is one of the premiere actresses in musical theater. She more than held her own against Heather Headley and Adam Pascal in “Aida” and her peformance in “Dirty Rotten Scoundrels” jolted that show to life in the second act. As the wicked Ursula she should probably have the time of her life.

A Catered Affair--a new musical featuring the multi-talented Harvey Fierstein who not only is featured in the cast, but also wrote the book. Hmmm. Last time Mr. Fierstein wrote the book for a musical—“La Cage Aux Folles--he won a Tony Award. In fact, more times than not when Fierstein is involved with a Broadway show the production is a major hit and he ends up winning some type of Tony. In fact, is there any other person that has won as many different Tony Awards? He has a Best Actor in a play, Best Actor in a musical, Best Book of a musical, and Best Play. But Harvey Fierstein is only one, albeit large, reason to look forward to the show. The cast includes Tom Wopat, who was the best part of the Bernadette Peters revival of “Annie Get Your Gun” a few years back and the return of Faith Prince. It’s so sad that the economics of Broadway prevent such seasoned professionals as Ms. Prince from appearing on stage more often. The Director of the production is John Doyle, who has scored major artistic triumphs the past two seasons with his stagings of “Sweeney Todd” (didn’t like it) and “Company” (loved it).

Will any of these musicals, even with their well-pronounced pedigrees, hold up to the scrutiny of New York audiences? There’s no guarantee of a hit just because your last show was a smashing success or the talent level involved is in the stratosphere. That’s what’s great about Broadway—will the luck of the draw have you sit through an utter disaster (as in Paul Simon’s, “The Capeman”) or witness an artistic vision (as in the original “Dreamgirls,” for example). Only time will tell.

What to See on Broadway?

2007-07-15T16:52:00.000-07:00

I am consistently asked for recommendations on what Broadway musical to see. Friends, co-workers, relatives, acquaintances all seek my advice since I have seen just about every current musical now playing in New York and, since I bill myself as a hard-nosed critic, they think I know what I’m talking about. I am always happy to oblige, especially when the high cost of tickets are forcing occasional theatergoers and families to limit their excursions to the New York musical stage.

So, what are my top suggestions? I have broken them down into five categories;
Tikes – ages 6-9
Tweens – ages 10-13
Teen – ages 14-17
Young Adults – 18+ years
Adults

When I make a recommendation it is usually with the understanding that an individual or family has not been to the Broadway stage very often. Therefore, most of the shows on my lists are the tried and true. However, this is all an inexact science with numerous variables to consider. Is one seeking a musical comedy or more serious production? What might appeal to two or three age groups at the same time? My daughter is a mature eleven year old. What do we do about her?

I have not included “Wicked” or “Jersey Boys” as any of the primary choices since these shows are always sold out and you would have to pay a king’s ransom to acquire decent seats. Wait a few years for their sheen to wear thin, then procure tickets. Foul language can be sprinkled throughout a show which might limit your choices. Look at “Spring Awakening” where one song title is ‘Totally F*****.’ I try to make a note of excessive inappropriate language.

Within the listings there is considerable overlap. For example, “A Chorus Line” could enthrall everyone except, maybe, the Tikes. The age ranges of each category can be flexible at either end of the spectrum so a Tween may in fact be quite comfortable in a Young Adult show. You may scratch your head about why I left a certain production off a category. For example, “Chicago” is not listed in the top five of any category even though it has been playing for years and continues to do well at the box office. But “Chicago” is getting a bit old in the tooth and there are more worthy shows to plop down your money for. Finally, just because a musical is not on my lists does not mean it is undeserving of your patronage. Also, with new shows opening each year the rankings could change overnight. So, without further ado…drum roll please…

TIKES (6-9 years old)
Disney has this category all to itself. No matter what your feelings are about Disney’s theatrical presence you have to admit they know how to deliver the goods.
1. Beauty and the Beast – the first Disney show and a crowd-pleaser for the very young. Fun, entertaining, yet still scary, “Beauty and the Beast” is very faithful to its movie source. Hurry, the musical closes on July 29th.
2. The Lion King – Director Julie Taymor took a two-dimensional movie and turned it into a tour de force Broadway musical. The opening number is still one of the best in recent Broadway history (I won’t reveal why). Her use of puppetry brings to life the assorted characters in The Pride, inspiring awe and wonder among theatergoers, both young and old.
3. Mary Poppins – When I saw the show there was a bevy of very young children directly in front of me. They didn’t make a peep. Enough said.

TWEENS (10-13 years old)
There are a couple of shows for the older Tweens mixed in with the Tike choices from above.
1. A Chorus Line – Still the singular sensation. Some of the language may be inappropriate, but the dancing and stories of each hopeful is mesmerizing.
2. Lion King – see under TIKES.
3. Phantom of the Opera – Like the Energizer Bunny this Andrew Lloyd Webber warhorse goes on and on and on. Very theatrical with one of Webber’s most melodic and recognizable scores. And where else would you find a crashing chandelier.
4. Mary Poppins – see under TIKES. Might be a tad childish for this group, but the production values, special effects and music should keep them interested.
5. Hairspray – Pure family enjoyment with frenetic dancing and a first-rate, tuneful score by Marc Shaiman and Scott Wittman.

TEENS (14-17 years old)
1. Spring Awakening – One of the seminal rock musicals with one of the best scores in years. Youthful, energetic cast makes this a must see. Language issues—one song is titled “Totally F*****” and there is a simulated rape scene.
2. Rent – Along with “Hair” and “Spring Awakening” one of the great Broadway rock musicals. Based on Puccini’s opera “La Boheme,” “Rent” packs an emotional wallop along with a near perfect Jonathan Larson score.
3. Hairspray – see under TWEENS.
3. Legally Blonde – Personally, I’m not a great fan of the show, but if you have girls, especially if they have seen the movie, they will love it. Boys, see something else with dad.
4. A Chorus Line – see under TWEENS.
5. 25th Annual Putnam County Spelling Bee – The funniest musical on Broadway. Period. Also, every seat at Circle-in-the-Square is splendid so you don’t have to fret over location.

YOUNG ADULTS (18+ years old)
1. Spring Awakening – see under TEENS.
2. Rent – see under TEENS.
3. A Chorus Line – see under TWEENS.
3. Spamalot – Funny and silly. More for diehard Monty Python fans.
4. 25th Annual Putnam County Spelling Bee – see under TEENS.
5. Phantom of the Opera – see under TWEENS.
5. Legally Blonde – see under TEENS.
5. Hairspray – see under TWEENS.

ADULTS
1. Spring Awakening – see under TEENS.
2. 25th Annual Putnam County Spelling Bee – see under TEENS.
3. A Chorus Line – see under TWEENS.
4. Phantom of the Opera – see under TWEENS.
5. Rent – see under TEENS.
5. Mama Mia – Mindless fun. If you like the music of ABBA, a must. If not, there are always other shows to see.
5. Hairspray – see under TWEENS.
5. Spamalot – see under YOUNG ADULTS.

Still unsure? Email me at Broadway99@comcast.net with your specific situation and I can see what I can recommend.

Rock 'n Roll on Broadway

2007-07-09T13:01:00.000-07:00

Rock ‘n Roll! Is the multi-Tony Award winning musical, “Spring Awakening,” with its high energy, rock-infused score, the wave of the future on Broadway? Or, to put it another way, is The Great White Way, possibly, a fertile breeding ground for rockers looking to stretch their artistic muscles? This was one of the themes in a June 24, 2007 column by Charles Isherwood in The New York Times (“On This Rock, Build a Future For Musicals”). The success of “Spring Awakening” could, according to Isherwood, “encourage more refugees from the rock and pop worlds to venture into theater.” This may occur but, historically speaking, Broadway has never attracted a considerable number of pop or rock composers to the musical stage even when the next influential rock musical opened to critical and popular success. This has been the pattern when the three seminal rock musicals—“Hair,” in 1968; “Rent,” in 1996; and now “Spring Awakening”—have opened. (I am not counting jukebox musicals or The Who’s “Tommy” and the Andrew Lloyd Weber-Tim Rice musical, “Jesus Christ Superstar,” since these are not what I would term ‘defining rock productions.’) The years following the openings of the three aforementioned shows has seen musicals more in the Tin Pan Alley tradition than in the rock ‘n roll vein.

There have been some notable forays by pop and rock artists on Broadway—the 1968 Burt Bacharach-Hal David smash, “Promises, Promises;” Roger Miller’s acclaimed 1985 score for “Big River;” Paul Simon’s 1996 Broadway flop, “The Capeman;” Phil Collins’ “Tarzan;” as well as Elton John’s incursion into legitimate theater with four shows to his credit—hits with “The Lion King,” “Aida,” and “Billy Elliott,” and a bomb with the recent “Lestat.”

What is intriguing about Isherwood’s argument is how the Internet may begin to finally change how pop and rock artists view the Broadway landscape. As with anything related to music today, selective downloading of songs could be the catalyst. People, like myself, visit iTunes to purchase, primarily, individual songs as opposed to whole albums. “If albums are soon to become all but obsolete,” Isherwood writes, “what are the ambitious artists to do with the more expansively conceived statements once known as concept albums?” One answer could be the Broadway musical stage.

Who do I think would have the ability, fortitude and gumption to carry out such an assignment? Well, considering my tastes and knowledge base are woefully stuck in the late 1970’s and 1980’s I would nominate:

Paul Simon. His score was the best part of the skewered, “The Capeman.” He should dust himself off, surround him with theater veterans and have a go at it one more time.
Paul McCartney. He’s already written one musical—the failed 1984 movie, “Give My Regards to Broad Street.” The former Beatle is so versatile, why not set out to conquer Broadway?
Chris Difford and Glenn Tilbrook of the English rock group “Squeeze.” In their heyday the twosome were known as the Lennon-McCartney of New Wave.
Andy Partridge of the English group, “XTC.” Prolific songwriter who could almost certainly translate his artistic prowess to the musical stage.
Elvis Costello. Superior talent who could easily extend his intelligence and flair to Broadway.
Billy Joel. The piano man, in another era, would have been the toast of Broadway. Hey, he’s already won a Tony Award for Best Orchestration. Why stop there?
Elton John. Keep it up. Still batting .750!

The future of rock’s encroachment onto Broadway may not be too far off. The just announced stage musical of “Spider-Man” will have a score by Bono and The Edge of the supergroup, “U2.” Who’ll be next to step up to the plate?

Rest in Peace, Footlight Records

2007-07-01T19:09:00.001-07:00

[PLEASE NOTE -- this post was originally uploaded on July 1, 2007. Since that time Footlight Records ended up not closing their Internet operations. On their website, http://www.footlight.com/, they just posted the following: We are proud to announce that Footlight Records will be relaunching on Friday, February 6, 2009 after being purchased by Bruce Yeko and Original Cast Records]

For weeks after the Tony Award ceremony, poorly performing shows shutter their doors and extinguish their glittering marquees. This year it seemed an unusually high number of Broadway productions ended their runs during this time. But there is one closing that is more heartbreaking than all the others combined. On July 4th Footlight Records, the quintessential record store for musical theater enthusiasts, will close its cyber-doors. Long a fixture in the East Village on 12th Street, then moving to Brooklyn, and finally becoming an Internet-only company, Footlight Records was THE place for aficionados of original cast recordings, especially rare and hard-to-find vinyl LPs.

A number of factors went into the decision by ownership. Astronomical rent increases, according to the store’s website, pushed the company further into debt. There was also the problem “that many smaller companies that produce cast recordings pre-sell their recordings at a discount price,” again as stated on their website. “This has probably cut into about 40% of our sales in cast CDs.” But maybe the most significant factor is the reality of today’s marketplace—more and more music is downloaded. CD sales are off which makes it harder for all types of record stores to keep their doors open. Even the giants are not immune. Look at Tower Records, once the mecca for the music buying public in New York City—gone!

Yet the seeds of Footlight’s demise began years ago and has affected all record stores with significant vinyl inventory. Simply, those outlets that traffic in used and/or virgin vinyl are a vanishing breed. Those of us that could think of nothing better to do than wile away the time browsing through racks and racks of undiscovered treasures are of a bygone era. There just aren’t enough of us to keep these places in business. Which is too bad. I have unearthed many original cast recordings in these environs, a number from musicals I had never heard of before which, for someone with over 800 cast recordings and other show-related music and CDs in their collection, is no small feat. For example, there was the little known Harold Rome show, “The Zulu and the Zayda” that appeared in a discount bin one day. Another time I found an odd duck—Jim “Gomer Pyle” Nabors singing songs from “Man of LaMancha,” perfect when I spotlight the cast album of the show and its many incarnations for one of my radio programs.

At Footlight Records—when they were a brick and mortar site--I spent countless hours rummaging through the used LPs and CDs. I marveled at the out-of-print and rare vinyl discs displayed on the walls. It truly was heaven…For the next few weeks the staff will be tying up loose ends. After that, the remaining stock will be on Amazon.com under the name Footlight.com. Rest in Peace, Footlight Records.

"It's A Bird...It's A Plane..." & Other Fav Cast Recordings

2007-06-23T19:20:00.000-07:00

I was crestfallen last week. Due to family obligations, I could not attend New York City’s York Theatre Company’s production of the 1966 musical “It’s A Bird…It’s A Plane…It’s Superman.” The first in their MUFTI series (MUFTI is defined as “in street clothes, without the usual trappings”), the Charles Strouse-Lee Adams Broadway flop ran for five performances this past weekend. Why was I so despondent? Because I count the original cast recording as one of my Top Ten favorites of all time. “It’s A Bird…” ran for a meager 129 performances when it opened on Broadway in the mid-1960’s, but the cast recording is fun, breezy, and tuneful.

Is it one of the best scores ever written? Hardly. But for some reason the score resonates with me and I play selections from the musical as often as I can on my radio program. This got me thinking—what are my favorite cast recordings? If I was on a desert island--just me and my iPod—what ten Broadway CDs would be loaded onto the device? As I leafed through the hundreds of CDs (and LPs) in my collection I realized that I would not include many of the “classics.” Shows, to name a few, such as “Kiss Me Kate,” “My Fair Lady,” “Guys and Dolls,” and “South Pacific”—gems, absolute perfection—did not make the cut. They contain some of the most memorable songs in Broadway musical history, and I enjoy listening to these cast recordings as well as sharing the music with my discerning audience, but most of my choices border on the unfamiliar to the average musical theater fan.

Reviewing my list, trying to determine the ‘why,’ I came up with some generalizations:

I like quirky
I connected with the show by seeing it live
I’m a sucker for ‘feel good’ scores
I gravitate towards bouncy, light-hearted
None of the above

So, here’s my Top Ten, in alphabetical order:

Anything Goes – the 1987 revival cast recording with Patti Lupone, at her best, and Howard McGillin. Outstanding Cole Porter songs given a real sassy arrangement. I remember getting goose bumps when I saw the show at Lincoln Center and relive the moment every time I play the CD.

Babes in Arms – the 1999 Encores! production of the Rodgers and Hart triumph. Every song a masterpiece delivered with syncopated precision by the Coffee Club Orchestra.

Good News – I have the 1995 studio cast recording that added songs from the 1947 movie version as well as other nuggets from composer Ray Henderson. First-rate, toe-tapping, infectious score with one of my all-time favorite numbers, “The Varsity Drag.”

Grease – the original cast recording, not all the bastardized versions since then. My first Broadway show that I saw without my parents. One of the funniest and most entertaining musicals ever, beautifully preserved on the cast recording.

It’s A Bird…It’s A Plane…It’s Superman – see above.

Oh, Brother! – monumental Broadway bomb (only three performances), based on Shakespeare’s “Comedy of Errors” and set in the Middle East. But a real spirited and frolicsome score by a cast that included Harry Groener and Judy Kaye.

Promises, Promises – the second musical I ever saw (after “Fiddler”)—the national tour in Washington, D.C. in December 1971 (why is it I can remember theater related dates, but can’t remember my wedding anniversary?). The only musical penned by popmeisters Burt Bacharach and Hal David. The cast recording perfectly captures 1960’s musical sensibilities as well as a sumptuous score.

She Loves Me – pure magic with the incomparable Barbara Cook. One glorious number after another by Sheldon Harnick and Jerry Bock. Oh, did I mention Barbara Cook?

Sweeney Todd – this comes under #5. A haunting, yet playful, score by Stephen Sondheim that works well in all transfigurations. I prefer the original cast recording with the legendary Angela Lansbury and Len Cariou.

Tommy – one of my favorite rock albums (by The Who), turned into a sensational Broadway musical. The cast recording loses none of the power and energy from the live show.

Procuring Cheap Tickets for Broadway

2007-06-17T17:26:00.000-07:00

Summer is here! And many of us will be venturing to The Big Apple to enjoy the New York theater scene. Unfortunately, over the years the cost for a ticket to Broadway or Off-Broadway has soared, making a trip to the theater a very expensive proposition. There are, however, a number of simple methods to obtain cheaper tickets—without having to settle for the nosebleed section. They can be broken down into Day of Show discounts and Advance Sale tickets.

DAY OF SHOW

TKTS Discount Booth -- Two locations, one downtown at the South Street Seaport, with the primary location in Times Square. The Times Square site, normally located in the middle of Broadway at 47th Street (Duffy Square), has been relocated to the Marriott Marquis Hotel at Broadway at 46th Street while a new structure is built at the Duffy Square location.

Patrons can line up to buy tickets for same day performances at up to 50% off (along with a $4.00 surcharge per ticket). The Booth opens at 3:00 p.m. for evening shows (earlier at the Seaport) and 10:00 a.m. for matinee performances. The lines start forming early. Be there at least one-half hour ahead of the opening. [PLEASE NOTE--With the newly reopened booth in Times Square you can now use Credit Cards along with Cash and Traveler's checks]

The TKTS Discount Booth usually has a wide selection of Broadway and Off-Broadway productions, with the best availability being Tuesday-Thursday nights. The list of shows change constantly and are posted at the front of the Booth so you can review the selections before getting in line. Have two or three shows in mind in case your first hope is sold-out or has lousy seats. Don’t expect the sold-out shows to be listed or being able to choose your seat location. You take what is available. Also, don’t be afraid of the sometimes long lines. They move fast and you meet the most interesting people—from all over the world!

Rush and Standing Room Only Tickets -- Playbill.com has a great overview of Rush and Standing Room Only (SRO) policies on their website. Basically, both are sold on the day of performance, have a very limited quantity, and are subject to availability. Rush tickets are usually sold when a box office first opens for the day. SRO are designated spots—where one stands—in the back of the orchestra. Slots are limited and are normally available only if a show is sold-out. Many productions cater their Rush and SRO tickets to students with a valid ID.

Broadwaybox.com -- see below

School Discount Coupons -- see below

ADVANCE DISCOUNT TICKETS

Broadwaybox.com -- Great site. Lists discount codes for many Broadway and Off-Broadway shows (again, not the sold-out ones) that can be used to purchase tickets in advance, either over the phone or in person at the box office. At their website, click on the show of your choice. The listed information gives you the discount code (for example, CHBBX93), what the particular discount is (for example $66.25 instead of $111.25) the expiration of the discount, and how to order tickets (there will be a surcharge per ticket if ordered over the phone). The beauty of Broadwaybox.com, besides the price and ease, is you can choose your seat location (depending on availability). You can also print out the page with the discount code and bring it to the box office ahead of time or for the day of performance.

School Discount Coupons -- You’ve seen these rectangularly colored slips of paper in schools, community centers, and elsewhere. The discount price is emblazoned on the front of the coupon along with instructions on how to redeem them. You can procure tickets by either mailing in the coupon, along with your money and preferred attendance dates; bringing the coupon to the box office—in advance or day of—or via their website (again, a per ticket surcharge is affixed). A listing of all their available shows is online, but you cannot printout the coupons online. You have to track them down on your own.

CLOSING THOUGHTS

If buying tickets in advance, over the phone, compare the discount from Broadwaybox.com and the School Discount Coupons program for the best rate (each has about the same rather high per ticket surcharge). Broadwaybox.com has a slight edge since when ordering by phone you speak to a real live person about seat locaton. The School Discount Coupons system is automated and you get what the computer gives you.

For day of tickets, compare all the discount programs--Broadwaybox.com, School Discount Coupons, and the TKTS Discount Booth--to see which offers the best deal (Rush and SRO will almost always have the most inexpensive rate, but not the best seat location or availability). Depending on the discount, going to the box office with the Broadwaybox.com printout or the School Discount Coupon is preferable since you:

do not pay any per ticket surcharge
do not need to stand in a possibly long line
can choose your seat location

2007 Tony Award Telecast

2007-06-11T19:10:00.000-07:00

Well, the 2007 Tony’s are now history. The telecast? Matter-of-fact. Warm and inviting. Like a cozy cup of cocoa in front of the fireplace. Some good production numbers from nominated shows, and some duds (see below). I don’t care for the host-less show. Even though their primary purpose is to attempt a Billy Crystal type opening number, a host does add continuity; a thread throughout the evening.

This year’s musical winners were very predictable. The biggest surprise? David Hyde Pierce for Curtains. While he is the main reason to see this rather tepid Kander-Ebb-Holmes show I thought Raul Esparza deserved the award for Best Actor in a Musical for his intense portrayal of Bobby in the revival of Company. My only other surprise was Bill T. Jones for Best Choreography for Spring Awakening. While adding to the edginess of this rock-infused musical, I thought Jerry Mitchell would win out for his highly energetic production numbers for Legally Blonde—The Musical.

So, what about the musical selections from this year’s Best Musical and Best Musical Revival nominated shows? First, I think it’s important to ask what is the point of these five minutes of national exposure? Is it to showcase one of the stars from the show? To make sure the entire cast is seen frolicking on stage whether it’s coherently structured or not? Or is it to choose that singular sensation of a production number that will generate huge ticket sales to all those visitors coming to New York this summer? For me, it’s a no-brainer—give the TV audience the razzle dazzle! So…which shows succeeded? Which musicals blew it? A critique:

Best Musicals
Mary Poppins
“Chim Chim Cher-ee” was a great choice—recognizable song, spotlighting the stars—Ashley Brown and Gavin Lee--and great dancing…until the end of the number when the segment producer decided to add the rest of the cast members (including the statue guy) to prance around the stage, spoiling the enchanting moment.

Grey Gardens
What do you do when a show has no splashy musical number to choose from? In this case, showcase the star. So having Christine Ebersole sing “The Revolutionary Costume For Today” was appropriate even though it only gave the viewer a taste of her tour de force performance. Partially successful.

Curtains
The best production of the night—“Show People” was a solid song from the musical, that featured the whole cast cavorting on stage, David Hyde Pierce in his likeable best, and spirited dancing. For a show that received lukewarm reviews at best, Curtains dazzled and left viewers wanting more.

Spring Awakening
At first I was disappointed when Lea Michele began the song, “Mama Who Bore Me,” but was extremely pleased when the first bars of “The Bitch of Living” (my favorite song from the show) started up soon after. But the number soon degenerated into a pogo-ing mess. I couldn’t help but think people in the hinterlands wondering what all the fuss is about.

Best Revival of a Musical
Company
While Raul Esparza’s performance was riveting they should have chosen a number that played to the show’s strength—namely how the actors and actresses play their own instruments. A perfect song would have been “You Could Drive A Person Crazy”—a more tuneful and playful song.

A Chorus Line
The show had the advantage of opening the night with a fanciful version of “I Hope I Get It” outside Radio City Music Hall that morphed into the finale, “One,” indoors on the gargantuan Radio City stage. Great production number. Great way to start off the night.

110 in the Shade
Any song with Audra McDonald singing is pure joy. But 110 has so many better Tom Jones and Harvey Schmidt tunes than the one showcased, “Raunchy.” What about “Love, Don’t Turn Away?” Or “Simple Little Things?” Or “Wonderful Music?” Missed opportunity.

What do you think?