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.
Sunday, April 25, 2010
Sunday, April 4, 2010
Review of "Lend Me a Tenor"
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.
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.
Thursday, March 11, 2010
Chicago Theater Boozers
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!
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!
Saturday, November 21, 2009
Review of "A Funny Thing Happened on the Way to the Forum" at Goodspeed Opera House
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.
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.
Thursday, October 15, 2009
Review of "Bye Bye Birdie"
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.
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.
Saturday, August 8, 2009
Review of "Camelot" at Goodspeed Opera House
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.
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.
Sunday, June 7, 2009
2009 Tony Award Musings
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.
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.
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