White Christmas - Music Theater of CT

White Christmas, based on the classic 1954 film, is receiving a bravo production at the Music Theatre of Connecticut.  The musical, stuffed with Irving Berlin classic tunes – “Happy Holidays,” “Falling Out of Love Can Be Fun,” “Blue Skies,” and, of course, the iconic title song – also includes the best musical production numbers I have ever seen at the theater.  We’re talking large-scale, tap-dancing extravaganzas by a talent troupe of performers.  What makes the choreography, helmed by Mallory Davis, more impressive is the incredibly small staging space at the Norwalk theater.  Diane Vanderkroef’s Costume Designs richly enhance many of the dance routines.

Josh Powell and members of the cast of White Christmas.

Director Kevin Connors keeps the show bustling with the actors and actresses busily entering and exiting from all sides of the stage.  He effortlessly transitions dialogue-laden scenes into the razz-ma-tazz dance numbers.  April Bartlett’s Scenic Design is appropriately simple and unadorned – you don’t want to keep moving the furniture to make way for the ample choreographic achievements. 

Derek Luscutoff and Josh Powell of the cast of White Christmas.

The book by David Ives and Paul Blake, a faithful adaptation of the movie screenplay, has former Army buddies Bob Wallace (the Bing Crosby role) and Phil Davis (the Danny Kaye character) become big-time entertainers after serving in WWII.  Wanting to add a new act for their upcoming stage show, they scout the Haynes Sisters, nightclub performers Judy (the Rosemary Clooney role) and Betty (Vera-Ellen in the film).  After the floor show, the four have drinks.  Phil and Judy hit it off immediately, while Bob and Judy start out on the wrong foot.  The men ask them to come to Florida where they’ll begin rehearsals.  The women, however, have a gig in Vermont.  Through a bit of deception, courtesy of Phil and Judy, the foursome end up at a cozy hotel in the Green Mountain state.  Unfortunately, there’s been no snow.  Cancellations are piling up and the entertainment is being scratched.  But just a minute!  Bob and Phil concoct a plan to bring their show from Florida to Vermont to rehearse and, more importantly, fill the rooms with paying customers.  The owner, who just happens to be their former commander in the Army, is not too pleased at first, but is convinced by his housekeeper, Martha, and granddaughter Susan.  By showtime, Phil and Betty are engaged.  After a number of bumps in their relationship, Bob and Judy realize they love each other.  Oh, yes, it snows just in time.

Elena Ramos Pascullo and Elissa DeMaria of White Christmas.

The acting corps is first-rate, led by Josh Powell (Bob Wallace) and Derek Luscutoff (Phil Davis).  Powell has been featured in a number of Connecticut musicals this past year (Mystic Pizza at Ivoryton Playhouse and Grumpy Old Men at Seven Angels).  This is his first starring role and he brings the prescribed stuffiness and cynicism to his performance.  His deep singing voice enriches such songs as “Count Your Blessings, Instead of Sheep” and “Blue Skies.”  While in perfect harmony with his other on-stage partners, he could be a little less irritable and grouchy.  Derek Luscutoff is a true triple threat with his acting, singing and, especially, hoofing.  His constant smiling and carefree attitude makes him the ideal foil for his stodgier colleague. 

Hillary Ekwall, Derek Luscutoff, and Sarah Warrick of White Christmas.

Elissa DeMaria’s Judy Haynes is lovely, perky and enlivens each of her musical numbers.  She and Elena Ramos Pascullo (Betty Haynes) make for a beautiful sisterly duo.  Ms. Pascullo’s Betty Haynes instills the requisite levelheadness and aloofness for her character.  She is a highly satisfying counterpoint with her “sister.”  As with her fellow performers, her singing and dancing are superb.

 

Kristi Carnahan, a Broadway veteran, imbues Martha with a brashness and acerbic wit that steals the show every time she’s on stage.  Her solo, “Let Me Sing and I’m Happy,” was a joy to behold.

 

White Christmas, playing at the Music Theatre of Connecticut through December.  Many of the final shows are sold-out.  Click here to check ticket availability.

The Ugly Xmas Sweater Musical - Playhouse on Park

The Ugly Xmas Sweater Musical, receiving its East Coast premiere at Playhouse on Park, is a loosely structured, silly, over-the-top holiday show that is big on audience interaction. 

Jef Canter, Cheron Whittley, Michelle Jennings and Marcel Werder in The Ugly Xmas Sweater Musical.  Photo by Meredith Longo.

The premise – employees at American Regalia Uniforms are awaiting their Christmas bonuses.  There is Cheryl (Michelle Jennings), the perky, positive thinking HR Director; Doug (Marcel Werder), a childish flirt; Niles (also played by Werder), a stylish influencer; Charlie (Jef Canter), a soon-to-retire member of the team and Kelli, Cheryl’s daughter and Misty, the staff intern (both portrayed by Cheron Whittley).  Unfortunately, the president of the firm has secretly sold the company to a German conglomerate and absconded with the proceeds and, more importantly, the staff’s bonuses.  To compound matters, the tyrannical new boss, Olga (Lara Yen Solito) wants to close the company.  What can save the day?  Coming up with a line of, can you believe, ugly sweaters!

Cheron Whittley in The Ugly Xmas Sweater Musical.  Photo by Meredith Longo.

What follows are songs, a smattering of lively choreography from Darlene Zoller, bad jokes, and a heaping spoonful of audience interaction for ticket holders wearing, you guessed it, ugly sweaters.  The book, co-written by Dan Knechtges and Megan Larche Dominick, comes across as a slapdash effort amplified by Suzu Sakai’s mishmash Scenic Design of holiday decorations and Kevin Cronin’s haphazard direction.  The cast of performers are game for whatever shenanigans in the script are thrust upon them.

Cheron Whittley, Jef Canter, Michelle Jennings and Marcel Werder in The Ugly Xmas Sweater Musical.  Photo by Meredith Longo.

The Ugly Xmas Sweater Musical, playing at Playhouse on Park through December 22.  Click here for dates, times and ticket information.

She Loves Me - Long Wharf Theatre

She Loves Me, one of the classic musicals of Broadway’s Golden Age, is receiving a rapturous production at the Long Wharf Theatre.  The show is based on the 1937 play Parfumerie (and the basis for the 1940 film, The Shop Around the Corner; the 1949 movie, The Good Old Summertime; and 1998's You've Got Mail).  She Loves Me has one of the most melodic and tuneful scores ever written for the stage and the cast deliver the songs with powerful and luxurious voices.

 

The plot centers around Maraczek’s, a parfumerie boutique in 1930’s Budapest.  The employees, under the proprietorship of Zolton Maraczek, are a tight-knit group.  There is Georg Nowak, the hard-working, determined assistant manager; Steven Kodaly, an urbane, rascally womanizer; Ilona Ritter, a disillusioned clerk looking for love; Ladislav Sipos, a long-time, sullen staff member; and Arpad Laszlo, a young, eager delivery boy.  Enter Amalia Balash, who finagles a position at the shop, much to the chagrin of Mr. Nowak.  The two bicker and are quarrelsome.  However, we quickly learn, and unbeknownst to each other, have had an ongoing pen pal relationship where they met through a lonely hearts ad in the newspaper.

 

Their letters are the precursor to what could be an eventual meeting and romantic relationship.  The question – will they or won’t they?  And, how will the goings-on at the shop effect their amorous rapport?

 

The music by Jerry Bock is lustrous, combining delicately structured ballads, heartfelt numbers, and comedic gems.  Under the direction of Musical Director Miles Plant, with a Sound Design by Alex Neumann, the four musicians, give the songs a joyous, lively delivery.  The lyrics by Sheldon Harnick are elegantly written, conveying unfeigned emotions.  They are tightly structured, providing well-appointed chronicles of the character’s everyday lives.  The following year their partnership reached its zenith with the musical Fiddler on the Roof.

 

Director Jacob G. Padron, who also serves as Artistic Director of the Long Wharf Theatre, applies sure-handed guidance to the production.  The pacing proceeds at a fluid pace, either with a few performers or with the entire cast.  His work is helped immensely by Scenic Designer Emmie Finckel’s moveable display counters that allows for a swift transformation of the small-sized performance space.

 

Long Wharf Theatre’s new mission is to take theater to different locales in the Greater New Haven area.  Last year, their award-winning production of Arthur Miller’s A View From the Bridge was set at the Canal Dock boathouse overlooking the Thames River.  For She Loves Me, Finckel has converted the gymnasium at the The Lab at ConnCORP in Hamden, CT into a gorgeously rendered, jewel-box sized theater.

 

The acting corps is superb, led by Julius Thomas III.  His low-key, sometimes baffled demeanor perfectly captures the deportment of  Georg Nowak.  Alicia Kaori’s portrayal of Amalia Balash is sometimes too petulant, but her singing is exquisite, which is rewarding for the audience since many of the best songs in the show are sung by her character.  Graham Stevens’ Steven Kodaly is suitably knavish.  Mariano Torres imbues her character of Ilona Ritter with just the right amount of flirtation and umbrage.  Danny Bolero as the dour clerk, Ladislav Sipos; and Felix Torrez-Ponce as the delivery boy Arpad Laszlo, provide the most gratifying portrayals of the show.  Raphael Nash Thompson is satisfying as Mr. Maraczek.  Special acknowledgement goes to the four-person ensemble that enlivens every scene they are in.

 

Jiyoun Chang’s Lighting Design adds a festiveness to the production, especially the constantly changing colored globes above the stage.  Sarita P. Fellows Costume Designs are beautifully executed and period appropriate.  And those shoes!

 

She Loves Me, a show to be embraced, playing through December 30.  Click here for dates, times, and ticket information.

 

Maybe Happy Ending - Broadway

Darren Criss in Maybe Happy Ending. Photo: Matthew Murphy and Evan Zimmerman

The new musical Maybe Happy Ending is magical and heartfelt.  I laughed.  I was astonished.  I just about cried at the marvelous, surprise ending.  Director Michael Arden, a Tony winner for his dazzling work on the recent revival of Parade, has crafted an even more inspiring production with Maybe Happy Ending.  Working with the stunning, multi-faceted sets fashioned by Scenic Designer Dane Laffrey, the futuristic video projections by George Reeve (along with Ms. Laffrey), and the striking Lighting Design by Ben Stanton, the director has fabricated a world that is a visual and aural feast.  One of many examples is the firefly scene in the forests of Jeju Island.  It is absolutely breathtaking.

 

The setting is the not-too-distant future in Seoul, Korea.  Oliver (Darren Criss) is what’s termed a helper-bot, series 3 model, humanoid in appearance.  He exists in a small, studio-like apartment for outdated bots awaiting the return of his owner (Marcus Choi).  Years go by, but his routine of reading and listening to jazz records never wanes until, one day, there is a knock at his door.  After hesitating – no one has ever visited him – he opens the door to find Claire (Helen J. Chen), a series 5 model, who lives across the hall.  Her charger is broken and she asks to use Oliver’s device.  Again, reluctance, but he finally agrees.  From there, a relationship slowly matures, which leads the two bots on a road trip of self-discovery and adventure.

Helen J Shen, Darren Criss in Maybe Happy Ending. Photo: Matthew Murphy and Evan Zimmerman.

 

Bookwriters Hue Park and Will Aronson have woven a tightly plotted story that is humorous will shadings of melancholy.  In a very short time, they manage to develop characters that are compelling and complex.  The hopes, dreams, and desires they instill in Oliver and Claire are universal.

 

The music and lyrics by Park and Aronson is full of songs speaking to the anticipation and aspirations of the bots.  They help round out the characters and the situations that arise.  The score is unfussy and direct with engaging solos and duets by the two main characters.  They have also added the character of Gil Brently (Dez Duron), a suave, jazz singing crooner who pops up every so often with songs commenting on the ongoing bot’s situation and relationships.

 

Helen J Shen, Darren Criss in Maybe Happy Ending. Photo: Matthew Murphy and Evan Zimmerman.

The cast is superb.  Darren Criss, the older model helper-bot, is slightly more robotic then Claire.  He beautifully brings Oliver to life with empathy, curiosity, and a slight degree of naivete.  His show ending gesture is poignant and joyful.  Helen J. Chen’s series 5 bot is more knowing and understanding of the world than Oliver.  The actress impressively brings a sophisticated, experienced feel to her character, tempered with a longing to be loved.  The two have an enchanting chemistry together, which fuels the musical through its enrapturing conclusion.  Marcus Choi, playing a number of roles, but primarily that of James, Oliver’s former owner, effectively provides context and a human component to the show.

 

Maybe Happy Ending, a musical to be experienced on the Broadway stage.

A Christmas Story - Goodspeed Opera House

Connecticut’s professional theaters are offering a wide assortment of holiday themed shows this time of year.  The first production to open is the delightful, family-oriented musical A Christmas Story.  The show is based on the 1983 film of the same name which, in turn, was based on the writings of humorist Jean Shepherd.  The production has a number of notable features:

1.    A tuneful, fun-filled score by Benji Pasek and Justin Paul (of Dear Evan Hansen fame).

2.   A talented lead in the young actor Christopher Riley as Ralphie.

3.   A bevy of talented adolescent performers.

4.   A pair of Bill Berloni trained dogs that, in their cameo appearances, steal the show (as well as the turkey).

 

Members of the cast of A Christmas Story.  Photo by Diane Sobolewski.

 

Jean Shepherd’s story is a remembrance of small-town living in the fictionalized Hohman, Indiana.  Times were simpler in 1940, when the show takes place.  Shepherd is portrayed with impish charm by John Scherer.  He serves as narrator for the entertaining and comical memories.  Joseph Robinette’s faithful book adaptation, centers on family life – the good, the bad, and everything in-between.  And, of course, the main thrust of the show is Ralphie’s (Jean Shepherd’s alter-ego) desire for the ultimate Christmas present – a Red Ryder Carbine Action BB Gun.  The problem – countering the prevalent parental opinion that by possessing the playful firearm “he’ll shoot his eye out.”  Trying to convince his mom and dad, overtly and covertly, to purchase the greatest gift ever is the primary focus of the musical.

 

The show includes all the iconic moments from the movie:

1.    A lamp shaped like a woman's leg.

2.   The holiday turkey.

3.   Santa at Higbee’s Department Store.

4.   The frozen pole “triple dog dare” bet.

5.    The bunny suit.

 

Christopher Riley of A Christmas Story.  Photo by Diane Sobolewski.

 

Director Hunter Foster seamlessly guides the production with creative flourishes, brisk storytelling, and inventive embellishments.  Choreographer Mara Newbery Greer stages energetic and inspired dance routines for such songs as “Ralphie to the Rescue;” “A Major Award;” which has Dad belting out the number backed by an ensemble grasping leg-shaped lamps; and “You’ll Shoot Your Eye Out,” with a sensational tap dance routine by a chorus of the young performers and Rashidra Scott (school teacher Mrs. Shields).

 

Rashidra Scott and members of the cast of A Christmas Story.  Photo by Diane Sobolewski.

The music and lyrics by Benji Pasek and Justin Paul, their first Broadway score, is lively, with a multitude of good-humored songs.  They smoothly advance the plot and give each of the central characters a moment to shine.  Standouts include “Red Ryder Carbine Action BB Gun,” “Ralphie to the Rescue,” “A Major Award,” and “Somewhere Hovering Over Indiana.”

 

The cast is led by Christopher Riley (Ralphie), who is an adorable and adept performer.  A Christmas Story succeeds due to this young actor’s competence and flair.  While Riley deservedly receives kudos, all the youthful performers in the musical are first-rate.

Jim Stanek, Camilo Velasquez Escamilla, Jenn Gambatese and Christopher Riley of A Christmas Story.  Photo by Diane Sobolewski.

 

The adults in the production are led by a quartet of experienced thespians.  There is the aforementioned John Scherer, who was a hoot in The Prom this past summer at the Sharon Playhouse.  Jenn Gambatese, who has an impressive Broadway resume, imbues Ralphie’s mother with a quiet fortitude and loving family manner.  Jim Stanek, another veteran of the New York stage, gives father, a rascally edge tinged with a warm and caring heart.  His big, razzle dazzle production number, “A Major Award,” is one of the many highlights of the musical.  Rashidra Scott’s role of Miss Shields is more of a featured role, but there is nothing secondary about her tour de force solo and accompanying hoofing in “You’ll Shoot Your Eye Out.”

 

Oh, and let’s not leave out the highly trained canines Gus and Jethro who’s every appearance is met with cheers.

 

Members of the cast of A Christmas Story.  Photo by Diane Sobolewski.

David L. Arsenault’s Scenic Design captures all the unforgettable junctures of the film.  Christopher Wong’s Lighting Design heightens the mood and playfulness of many scenes and production numbers.  Nicole V. Moody’s Costume Design brings the early 1940’s to life as well as providing some luminous outfits during the dreamy dance routines.

 

A Christmas Story, continuing at the Goodspeed Opera House through December 29.  Click here for dates, times, and ticket information.

In the Heights - Downtown Cabaret Theatre

If you have never seen Lin-Manuel Miranda’s first musical, In The Heights, then you want to head to the Downtown Cabaret Theatre in Bridgeport where the company is staging a spirited, well-acted production of the musical.  The show, with a score by the multi-talented composer/actor, combines rap, hip-hop, salsa and traditional Broadway melodies to form a musical that feels fresh and  contemporary.

The cast of In the Heights.

The book by Quiara Alegría Hudes covers a few days within the multi-ethnic neighborhood of Washington Heights in Upper Manhattan.  The book lacks overly dramatic elements but, for the most part, the libretto is rudimentary, mostly sketching together a series of slice-of-life complications.  Overall, the emphasis of the show is family and community.

We are introduced to this section of New York City and the denizens of the area by Usnavi, performed with confidence and a touch of innocence by Manny Gonzalez.  He runs a bodega with his cousin Sonny (played with comic brio by Nick Nuñez).  Abuela Claudia (Jane Prieto), an elderly woman, who raised Usnavi, is the heart and soul of the neighborhood.  There is the hair salon run by the sassy Daniela (Heather Abrado) and two assistants, the upwardly mobile Vanessa (Juliana Rivera) and the religiously inclined Carla (Karina Brea).  The married couple, Kevin (Martin Garcia) and Camila (Cintia Maio), run a car service with their buoyant and poised employee Benny (Everton George).  Their daughter Nina (Olivia Rivera), a bright, yet struggling college student at Stanford University, has come home for the summer.  This event, and the fireworks it creates, form the nucleus of the show.  There is romance, a city-wide blackout and, by the show’s conclusion, significant changes for almost everyone that lives in The Heights.

Everton George, Manny Gonzalez and Nick Nuñez of In the Heights.

Lin-Manuel Miranda’s music and lyrics, which were so new and, in a sense, revolutionary back in 2007 when the show opened Off-Broadway now seem commonplace in a theatrical setting.  Depending on the character and scene the composer offers up a variety of musical styles.  Standouts among the songs include the title number, “Enough, “Breathe,” and “It Won’t Be Long Now.”

One of the pleasures of this production is the enthusiasm and energy of the diverse acting corps.  All the aforementioned players provide high quality and nuanced performances.  Standouts include Manny Gonzalez as Usnavi, Juliana Rivera  as Vanessa, Heather Abrado as Daniela and the audience favorite, Jane Prieto as Abuela Claudia.

Juliana Rivera, Heather Abrado, Olivia Rivera, and Karina Brea of In the Heights.

Director Ben Tostado keeps the action lively and the pacing smooth.  Each scene naturally evolves from one moment to another.  Olivia Rivera, who doubles as the production’s choreographer, adds a few dynamic dance sequences to the show.

This production of In the Heights has no live band.  However, the professional sounding cast members, under the guidance of Musical Director Mark Ceppetelli, are totally in sync with the canned music, making for a thoroughly satisfying musical experience.  His work is augmented by Holly Rybnick’s proficient Sound Design.

David Kievet’s Scenic Design is tidily and effectively segmented into three distinct set pieces.  Christian Hall’s Lighting Design, at times, adds dramatic luster to the production. The Costumes by Thomas Gordon and Krista Rocco come across as totally fitting for the populace of this Manhattan neighborhood.

In the Heights, a vibrant musical, playing at the Downtown Cabaret Theatre in Bridgeport through November 24.  Click here for dates, times, and ticket information.

Sunset Boulevard - Broadway

Director Jamie Lloyd’s deconstructed and dazzlingly reconceptualized production of the Andrew Lloyd Webber/Don Black/Christopher Hampton musical Sunset Boulevard is a stunning piece of theater.  Not always successful – audience members unfamiliar with the original production (1994) or first Broadway revival (2017) might find the plot hard to follow.  Nonetheless, the musical is a triumph, especially for its star, Nicole Scherzinger who, literally, delivers a show-stopping performance.

Nicole Scherzinger as Nora Desmond in Sunset Boulevard.

Sunset Boulevard is based on the classic 1950 Billy Wilder film and revolves around the faded silent screen legend Norma Desmond (Nicole Scherzinger) and her relationship with a cynical, down-on-his-luck screenwriter, Joe Gillis (Tom Francis).  Through happenstance, the two come together to work on the former film star’s unwieldly movie script, which she sees as her ticket back to stardom.  Moving into Norma Desmond’s palatial manor, the writer becomes more entrenched within her life, all under the watchful eye of Max (David Thaxton), her faithful manservant.  Complicating matters is Gillis’ growing affection to Betty Schaefer (Grace Hodgett Young), a perky, young studio assistant, who happens to be engaged to the former’s best friend.  At times subservient to Desmond’s demands, at other moments rebellious, Gillis finally looks to break free from his gilded life with tragic consequences.

 

Tom Francis and the ensemble in Sunset Boulevard.

Lloyd has framed the production on an almost scene-free stage, giving the impression of an empty movie set.  The director makes significant use of towering, real-time video projections, so effectively rendered by Nathan Amzi and Joe Ransom.  I am not a huge fan of this device, but Lloyd manages to make it work, most of the time, by delivering, simultaneously, the drama on stage with a film noir backdrop.  There are certain scenes which could have benefitted without the video.  The close-ups are particularly penetrating, adding another layer to the actor’s performances.  Jack Knowles’ Lighting Designer is integral to the show’s success.  He bathes the production in shadows and silhouettes, which adds to the moodiness and disillusionment of the characters. 

 

The ensemble of Sunset Boulevard.

The director has streamlined the show by excising a few scenes from the original stagings of the musical, such as Norma’s spa treatments ("Eternal Youth Is Worth a Little Suffering") and Joe Gillis’s primping by a gaggle of Men’s Shop salesmen ("The Lady's Paying").  While not affecting the narrative, the stark staging  of the production gives only a few reference points for individuals unacquainted with the show.  My daughter, who attended with me, was slightly confused with the storyline, even though it did not curtail her overall enthusiasm for the production.

 

The success of Sunset Boulevard rise and falls with the actress playing Norma Desmond.  Nicole Scherzinger, who originated the role on the London stage, winning the Olivier Award for Best Actress, redefines the role, bringing a sexier, more agile interpretation to her portrayal of the deluded former movie star.  Her mannerisms and vocal inflections reflect the silent film era.  They come into crisp, unfettered focus when displayed on the enormous, backstage screen.  Her romantic relationship with Joe Gillis also becomes more believable and plausible. 

 

Nicole Scherzinger in the Broadway revival of Sunset Boulevard.

Ms. Scherzinger, a former member of the pop group, The Pussycat Dolls, has an exceptional singing voice that brings power and passion to the Andrew Lloyd Webber/Don Black/Christopher Hampton score.  Her rendition of “With One Look” brought the audience to their feet, while "As If We Never Said Goodbye" brought sustained applause.  Overall, the music and lyrics in the mostly sung-through show, are one of the better scores within the Andrew Lloyd Webber canon.

 

David Thaxton as Max in Sunset Boulevard.

Tom Francis’ characterization of Joe Gillis is infused with the requisite sarcastic quips and down-on-his-luck edge.  I found his portrayal boosted by the video projections, which seemed to magnify his woeful, fated destiny.  Grace Hodgett Young imbues Besty Schaeffer with a hard-driving, career girl temperament.  Her portrayal is mitigated with spunk, but also a more realistic acerbic, defeatist demeanor. David Thaxton gives a fine portrayal of Max Von Mayerling, Nora Desmond’s manservant and one-time director.  His character’s demeanor and stifling presence is also aided by the video projections, with his snarling, sometimes menacing, presence towering above the stage.

 

Members of the ensemble, a more amorphous group, fill in for the minor roles while also serving as a Greek-like chorus.  Their movements by Choreographer Fabian Aloise are, at times, exciting, mirroring the tumult in the story.  But the sequences helmed by Ms. Aloise can also be puzzling and distracting.

 

Sunset Boulevard, now playing at the St. James theater on Broadway.