“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.
Sunday, April 12, 2009
Sunday, February 8, 2009
Review of "Jersey Boys" - National Tour
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.
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.
Sunday, February 1, 2009
Review of "Enter Laughing"
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.
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.
Wednesday, January 7, 2009
The Closing of Broadway?
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.
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.
Friday, December 19, 2008
Review of "Emmet Otter’s Jug-Band Christmas"
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.
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.
Sunday, December 14, 2008
Review of "Shrek the Musical"
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.
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.
Sunday, November 23, 2008
Review of "Billy Elliot--the Musical"
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.
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.
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