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  He exists in a small, studio-like apartment for outdated bots awaiting the return of his owner (Marcus Choi).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.