- Was anyone else mystified with the opening of the ceremony? Why the prolonged opening from “The Lion King?” I know it is the ten year anniversary, but wasn't it a bit of overkill? Great commercial for the show. If I was one of the production’s producers I would have been salivating! I was also a bit underwhelmed with the parade of beasts which is interesting since, when I saw the musical, when it first opened I thought it was one of the most magical moments in theatre history. Note to Tony producers about the opening of the program—how about something a bit more imaginative for next year? What about some great musical production numbers from year’s past?
- I was not happy when Whoopi Goldberg was announced as host of the Tony telecast. I don’t find her funny or very good as a master-of-ceremonies. But, I will admit, I found her innocuous as emcee, staying out of the way of the proceedings. Good for her.
- Musical excerpts from Best Musical nominated shows—
“In the Heights” – vibrant, exciting, showing off the energy of the musical. Great choice.
“Passing Strange” – well, I don’t know what Mr. and Mrs. Midwest thought of Stew prancing around the stage. Good choice, but will it translate into increased box office bucks?
“Xanadu” – poor choice for a show that prides itself on its zaniness. The musical's opening number, “I’m Alive,” would have been a better showcase for the show since it beautifully captures the inspired silliness of the production.
“Cry Baby” – insipid, loud, unimaginative number. I can’t believe the show hasn’t closed by now. - Musical excerpts from Best Musical Revivals—
“Grease” – my problem is I actually saw the original with Barry Botswick as Danny Zucco and it was one of the funniest, most entertaining shows I have ever seen. Every revival since has been dreadful. Starting this production number with a song from the movie version turned me off immediately. It was bland and vapid and a good excuse for a snack break.
“Sunday in the Park with George” – not a great fan of the show, but a fine performance two superb actors.
“South Pacific” – nicely done incorporating three memorable songs from the show. They beautifully showcased three of the nominees. Good job.
“Gypsy”– also a fine choice that included, what ended up to be three Tony winners, but also served as a national showcase for the raw power Patti Lupone brings to the role of Mama Rose. A tour de force triumph! - Speaking of Ms. Lupone, GREAT acceptance speech. Over the top, but entertaining at the same time.
- Reunion of the original cast of “Rent” was nostalgic, but a bit humdrum. There could have been a better way to send off one of the longest running shows in Broadway history.
- Other musical numbers from current musicals were lackluster and dull--
“A Catered Affair” -- It won't have the bridge and tunnel crowd racing to the box office after their stodgy selection.
“Young Frankenstein!” -- What a lifeless number. I’m not a big fan of the musical, but “Transylvania Mania” would have been more rollicking, roll in the hay, fun. - Thank you for no insipid bantering among presenters.
- My track record on picks…not too bad. I correctly chose all the winners except for Best Book—how “Passing Strange” could win the award while “In the Heights” wins all the other major honors is a mystery (I picked “In the Heights”). I also thought Christopher Fitzgerald should have won for Best Supporting Actor over Boyd Gaines. Not to say Gaines was unworthy, but Fitzgerald’s Igor was one of the saving graces of “Young Frankenstein.” He made the part his own, almost making you forget about Marty Feldman’s inspired lunacy from the movie.
- Overall, the telecast receives a C+. Suggestions for next year—a more lively host (do I hear Billy Crystal?) and some big prodution numbers. Show people what Broadway is all about!!
Monday, June 16, 2008
Thoughts on Tony Telecast and Awards
Here are some random thoughts about the Tony telecast and the winners in the musical theatre category…
Monday, May 12, 2008
Review of "Happy Days--the Musical"
“Happy Days,” the musical spawned by the long running television show, now playing at the Goodspeed Opera House in East Haddam, CT, is pure unadulterated fun—no hidden agendas, no secret plot lines, no surprise endings, just wholesome entertainment like…like…well like what the TV show was all about.
All the gang is on stage singing and dancing—Richie, Potsie, Ralph, Joanie, Chachi, Pinky and, of course, The Fonz. They are out to prevent their beloved Arnold’s from turning into a, heaven forbid, parking lot.
Garry Marshall, creator of the original series, has penned a book that provides more than its fair share of laughs but, more importantly, plays it straight as opposed to devolving into self-parody. That’s what has killed all the revivals of “Grease” over the yeas. The actors portraying Danny Zucco now strut, pose and prance around the stage which has the affect of breaking down the fourth wall between audience members and cast, throwing off the pacing of that show. The creative team behind “Happy Days” have wisely steered the straight and narrow, doing without the winks and nods to the audience and allowing the musical to advance at a brisk pace, providing a festive diversion in the theater.
The cast is uniformily fine. Some of the standouts included the cuties Joanie and Chachi, played by Savannah Wise and Lannon Killea, respectively; the hard-edged, but sultry Sandra DeNise as The Fonz’s love interest, Pinky; Cynthia Ferrer as the housebound, perfect housewife, Mrs. C.; Matt Walker providing a nice comedic touch in a variety of roles; and Joey Sorge who does a dead-on Fonzie. Fonzie is the center of the production. Someone less confident in the role would cause the musical to sag at all the wrong places but, while Sorge won’t make you forget Henry Winkler, he provides the glue that holds the show together.
Paul Williams’ score serves the production well with such songs as “What I Dreamed Last Night,” “Run,” “Ordinary Hero,” and the end of Act I production number, “Heartbeat,” artfully and energetically choreographed by Michele Lynch who makes the Goodspeed stage come alive throughout the show.
Director Gordon Greenberg knows the material he is dealing with borders on fluff, yet he gives the show a light-handed, sprightly feel that captures the essence of Milwaukee in the late 1950’s.
The one stone I’ll throw concerns the need to have some familiarity with the TV show. Without some knowledge of Richie and company “Happy Days” might not be as enjoyable and even a bit puzzling. But I nitpick.
“Happy Days—the Musical,” joyously ensconced at the Goodspeed Opera House thru June 29th.
[Note: “Happy Days” is scheduled to tour around the country beginning in Fall 2008.]
All the gang is on stage singing and dancing—Richie, Potsie, Ralph, Joanie, Chachi, Pinky and, of course, The Fonz. They are out to prevent their beloved Arnold’s from turning into a, heaven forbid, parking lot.
Garry Marshall, creator of the original series, has penned a book that provides more than its fair share of laughs but, more importantly, plays it straight as opposed to devolving into self-parody. That’s what has killed all the revivals of “Grease” over the yeas. The actors portraying Danny Zucco now strut, pose and prance around the stage which has the affect of breaking down the fourth wall between audience members and cast, throwing off the pacing of that show. The creative team behind “Happy Days” have wisely steered the straight and narrow, doing without the winks and nods to the audience and allowing the musical to advance at a brisk pace, providing a festive diversion in the theater.
The cast is uniformily fine. Some of the standouts included the cuties Joanie and Chachi, played by Savannah Wise and Lannon Killea, respectively; the hard-edged, but sultry Sandra DeNise as The Fonz’s love interest, Pinky; Cynthia Ferrer as the housebound, perfect housewife, Mrs. C.; Matt Walker providing a nice comedic touch in a variety of roles; and Joey Sorge who does a dead-on Fonzie. Fonzie is the center of the production. Someone less confident in the role would cause the musical to sag at all the wrong places but, while Sorge won’t make you forget Henry Winkler, he provides the glue that holds the show together.
Paul Williams’ score serves the production well with such songs as “What I Dreamed Last Night,” “Run,” “Ordinary Hero,” and the end of Act I production number, “Heartbeat,” artfully and energetically choreographed by Michele Lynch who makes the Goodspeed stage come alive throughout the show.
Director Gordon Greenberg knows the material he is dealing with borders on fluff, yet he gives the show a light-handed, sprightly feel that captures the essence of Milwaukee in the late 1950’s.
The one stone I’ll throw concerns the need to have some familiarity with the TV show. Without some knowledge of Richie and company “Happy Days” might not be as enjoyable and even a bit puzzling. But I nitpick.
“Happy Days—the Musical,” joyously ensconced at the Goodspeed Opera House thru June 29th.
[Note: “Happy Days” is scheduled to tour around the country beginning in Fall 2008.]
Wednesday, April 23, 2008
Review of "Gypsy"
One of the great injustices of the last twenty years in musical theater has been the absence of Patti LuPone on the Broadway musical stage. Between 1987’s acclaimed revival of “Anything Goes” until her portrayal of Miss Lovett in John Doyle’s 2005 stripped down “Sweeney Todd,” Ms. Lupone’s powerful, full-throttled vocals were on display elsewhere, outside New York City. Fortunately, the fiery diva is back as the mother of all stage mothers, Mama Rose, in the revival of “Gypsy.”
Patti LuPone’s portrayal is gut-wrenching, heart-breaking, pathetic, and poignant. She trods the St. James Theatre stage like a wounded animal ready to pounce at the slightest provocation. Her sole intent, with equal parts bullying, threatening, cajoling, and chutzpah, is to make her daughter—first Baby June, and then Louise—a star.
But what of the voice? That powerhouse instrument that gave me goose bumps when I sat in the audience watching “Anything Goes” so many years ago? Happily, its never been better, with such classics as “Some People,” “Small World,” “Everthing’s Coming Up Roses,” and “Rose’s Turn,” to savor. One of bonuses about the production is a full, 8-10 person, mini-orchestra with strings, horns, even a kettle drum playing the Jule Styne-Stephen Sondheim score. Situated on the stage, behind a curtain, the production begins with the musicians out front on the bare stage lovingly running through the overture—yes, a real, honest to goodness overture. What a delight!
Supporting Patti LuPone is a first rate group of performers. Boyd Gaines is understated but forceful as the milquetoast Herbie; Laura Benati is convincing as she transforms from shy, reserved Louise to the self-assured and dominating Gypsy Rose Lee. In smaller roles are the marvelous scene stealing Alison Fraser as the self-loathing, but good-hearted stripper, Tessie Tura; and Leona Nemetz in the dual role of the boisterous burlesque performer, Mazeppa and the tightly wound secretary, Miss Cratchitt.
Even with the praise I can heap on this revival, the production did drag at some points, primarily when Ms. LuPone was not center stage. The primary culprit is Arthur Laurents’ book, which he wrote almost 40 years ago. At times the musical seems like a play with music. As it is, the show lasts almost three hours. Laurents direction could also be tighter especially when the kids are involved.
Jerome Robbins’ choreography, while not one of the high points of the production, is faithfully reproduced.
All in all, “Gypsy” is a show you do not want to miss, primarily because of Patti Lupone’s riveting performance. You just don’t know how many more musical roles are left for her on the Broadway stage.
Patti LuPone’s portrayal is gut-wrenching, heart-breaking, pathetic, and poignant. She trods the St. James Theatre stage like a wounded animal ready to pounce at the slightest provocation. Her sole intent, with equal parts bullying, threatening, cajoling, and chutzpah, is to make her daughter—first Baby June, and then Louise—a star.
But what of the voice? That powerhouse instrument that gave me goose bumps when I sat in the audience watching “Anything Goes” so many years ago? Happily, its never been better, with such classics as “Some People,” “Small World,” “Everthing’s Coming Up Roses,” and “Rose’s Turn,” to savor. One of bonuses about the production is a full, 8-10 person, mini-orchestra with strings, horns, even a kettle drum playing the Jule Styne-Stephen Sondheim score. Situated on the stage, behind a curtain, the production begins with the musicians out front on the bare stage lovingly running through the overture—yes, a real, honest to goodness overture. What a delight!
Supporting Patti LuPone is a first rate group of performers. Boyd Gaines is understated but forceful as the milquetoast Herbie; Laura Benati is convincing as she transforms from shy, reserved Louise to the self-assured and dominating Gypsy Rose Lee. In smaller roles are the marvelous scene stealing Alison Fraser as the self-loathing, but good-hearted stripper, Tessie Tura; and Leona Nemetz in the dual role of the boisterous burlesque performer, Mazeppa and the tightly wound secretary, Miss Cratchitt.
Even with the praise I can heap on this revival, the production did drag at some points, primarily when Ms. LuPone was not center stage. The primary culprit is Arthur Laurents’ book, which he wrote almost 40 years ago. At times the musical seems like a play with music. As it is, the show lasts almost three hours. Laurents direction could also be tighter especially when the kids are involved.
Jerome Robbins’ choreography, while not one of the high points of the production, is faithfully reproduced.
All in all, “Gypsy” is a show you do not want to miss, primarily because of Patti Lupone’s riveting performance. You just don’t know how many more musical roles are left for her on the Broadway stage.
Monday, March 24, 2008
Review of "In The Heights"
“In the Heights,” last season’s critical and commercial Off-Broadway hit, has now transferred to Broadway where its vibrancy and pulsating rhythms ignite the Richard Rodgers Theatre. The show, with touches of joy and sorrow, focuses on the changing lives that affect a small street corner in the Washington Heights area of New York City. Lin-Manuel Miranda, the star as well as composer, serves as ringmaster/narrator from his small bodega (a tiny grocery store) in the neighborhood around 181st and Broadway. There, he dispenses coffee and advice while also pursuing the love of his life. But his story is just one of many artfully woven together by librettist Quiara Alegria Hudes. The flow of the musical has an organic earthiness to it, where the action has an intuitive ebb and flow.
The choreography by Andy Blankenbuehler exemplifies this point. Where most Broadway musicals telegraph the big production number, the dances of “In The Heights” evolve naturally within the plot lines. They are street smart and dynamic, giving the audience a feel for the latino culture on Manhattan’s northern boundary.
The cast is uniformily superb and while all deserve praise and mention, the real standouts include Lin-Manuel Miranda as Usnavi (Think U.S. Navy. The joke is explained in the show), Mandy Gonzalez as Nina, the one who’s brains and drive allowed her to escape her past; Robin De Jesus, a buddy, partner and comic foil all wrapped up in one; and Olga Merediz as the old sage of the block, Abuela. Even more noteworthy are the raw emotions these actors and actresses are able to generate. For most musicals my connection with the performers is usually muted. In “In The Heights” I deeply cared what would happen to the character’s lives, which further drew me into their world.
The score by Lin-Manual Miranda is exhilarating and of the moment. Combining salsa, latin rhythms and rap, Miranda successfully manages to introduce to the Broadway masses the music and sounds heard throughout Washington Heights. What’s more, was the delivery of each song. The ballads are heartfelt and the uptempo numbers seethe with urgency.
Keeping all the swirling components of the show working like clockwork is Director Thomas Kail. In less assured hands, the musical could become conventional or prosaic. But Kail, expertly collaborating with his other creative partners, makes “In The Heights” anything but pedestrian.
“In The Heights,” a show that gives this Broadway season something to rave about.
The choreography by Andy Blankenbuehler exemplifies this point. Where most Broadway musicals telegraph the big production number, the dances of “In The Heights” evolve naturally within the plot lines. They are street smart and dynamic, giving the audience a feel for the latino culture on Manhattan’s northern boundary.
The cast is uniformily superb and while all deserve praise and mention, the real standouts include Lin-Manuel Miranda as Usnavi (Think U.S. Navy. The joke is explained in the show), Mandy Gonzalez as Nina, the one who’s brains and drive allowed her to escape her past; Robin De Jesus, a buddy, partner and comic foil all wrapped up in one; and Olga Merediz as the old sage of the block, Abuela. Even more noteworthy are the raw emotions these actors and actresses are able to generate. For most musicals my connection with the performers is usually muted. In “In The Heights” I deeply cared what would happen to the character’s lives, which further drew me into their world.
The score by Lin-Manual Miranda is exhilarating and of the moment. Combining salsa, latin rhythms and rap, Miranda successfully manages to introduce to the Broadway masses the music and sounds heard throughout Washington Heights. What’s more, was the delivery of each song. The ballads are heartfelt and the uptempo numbers seethe with urgency.
Keeping all the swirling components of the show working like clockwork is Director Thomas Kail. In less assured hands, the musical could become conventional or prosaic. But Kail, expertly collaborating with his other creative partners, makes “In The Heights” anything but pedestrian.
“In The Heights,” a show that gives this Broadway season something to rave about.
Sunday, February 3, 2008
Review of "November"
Tired of presidential politics? Sick of all those political ads? Annoying pollsters and intrusive phone calls? Can’t wait for the Super Tuesday primaries to be over? The frenzied tonic of an answer is located at the Ethel Barrymore Theater in David Mamet’s new comedy, “November.” This is not the dour Mamet of “American Buffalo” or “Glengarry Glen Ross,” but a more puckish playwright out to skewer presidential politics and, not too subtly, the current occupant of the oval office.
Starring Nathan Lane as a buffoon of a Commander-in-Chief, “November” zeroes in on the Almighty Dollar and its role in presidential elections and beyond. The premise of the show is simple. Lane’s character, President Charles Smith, is despised by just about everyone in the United States, which is putting a damper on his reelection bid. This has negatively affected his fund-raising ability for a last minute TV blitz as well as his attempts to raise money for a much-desired Presidential Library. The solution? Fleece the turkey lobby, seeking the ceremonial pardon of the Thanksgiving bird, in exchange for millions in donations. Add in complications and sermonizing on same sex marriage and you have the ingredients for a mostly comical and entertaining time in the theater.
In typical Mamet fashion the dialogue is fast and furious and the expletives are numerous. The superb cast, headed by Lane, Dylan Baker and Laurie Metcalf, are more then up to the challenge of taking Mamet’s sometimes absurdist and manic notions and delivering an intoxicating mixture of laughs and jabs.
The focus is on Lane, the bigoted, racist, xenophobic and homophobic President of the United States (I don’t think I left out any other phobias). He’s overwrought, slightly demented, and somewhat intellectually challenged. Lane plays the role to perfection. Buried beneath all the President’s faults and blemishes is a heart, not quite of gold, but a heart nonetheless. Lane is a master of the slow burn, or the arched eyebrow to make a point. He has an accomplished foil in Dylan Baker as Archer Brown, Chief of Staff. Baker is droll, straight-faced and a more calming compliment to Lane’s often caustic character. Laurie Metcalfe, the harried, principled and overwhelmed presidential speechwriter is more than a match for Lane’s bullying President.
Joe Mantello directs with a tight rein, yet gives his actors plenty of room to maneuver, a necessity with the likes of Nathan Lane prowling the stage.
The climax of “November” is, unfortunately, not a satisfying conclusion. Still, “November” is funny and timely. In political parlance think of it as in between a Florida and Ohio primary, just not a California blockbuster.
Starring Nathan Lane as a buffoon of a Commander-in-Chief, “November” zeroes in on the Almighty Dollar and its role in presidential elections and beyond. The premise of the show is simple. Lane’s character, President Charles Smith, is despised by just about everyone in the United States, which is putting a damper on his reelection bid. This has negatively affected his fund-raising ability for a last minute TV blitz as well as his attempts to raise money for a much-desired Presidential Library. The solution? Fleece the turkey lobby, seeking the ceremonial pardon of the Thanksgiving bird, in exchange for millions in donations. Add in complications and sermonizing on same sex marriage and you have the ingredients for a mostly comical and entertaining time in the theater.
In typical Mamet fashion the dialogue is fast and furious and the expletives are numerous. The superb cast, headed by Lane, Dylan Baker and Laurie Metcalf, are more then up to the challenge of taking Mamet’s sometimes absurdist and manic notions and delivering an intoxicating mixture of laughs and jabs.
The focus is on Lane, the bigoted, racist, xenophobic and homophobic President of the United States (I don’t think I left out any other phobias). He’s overwrought, slightly demented, and somewhat intellectually challenged. Lane plays the role to perfection. Buried beneath all the President’s faults and blemishes is a heart, not quite of gold, but a heart nonetheless. Lane is a master of the slow burn, or the arched eyebrow to make a point. He has an accomplished foil in Dylan Baker as Archer Brown, Chief of Staff. Baker is droll, straight-faced and a more calming compliment to Lane’s often caustic character. Laurie Metcalfe, the harried, principled and overwhelmed presidential speechwriter is more than a match for Lane’s bullying President.
Joe Mantello directs with a tight rein, yet gives his actors plenty of room to maneuver, a necessity with the likes of Nathan Lane prowling the stage.
The climax of “November” is, unfortunately, not a satisfying conclusion. Still, “November” is funny and timely. In political parlance think of it as in between a Florida and Ohio primary, just not a California blockbuster.
Tuesday, January 29, 2008
Review of "Is He Dead?"
“Is He Dead?,” the Mark Twain comedy recently unearthed by scholars, now on Broadway, will have a great afterlife in summer stock and community theater. The show provides a fistful of laughs, has a silly, yet gratifying plotline, plum roles for actors and actresses, and the chance for the star to play in drag. What more could middle American want?
This is not to detract for what we see on the Lyceum stage, but an acknowledgement that “Is He Dead?” is more a humorous bauble rather than a side-splitting pearl.
The show’s setup revolves around the fact that the paintings of dead artists bring in more money than live ones. Building on this premise sets Twain’s action in motion, mostly to entertaining effect. “Is He Dead?” is not a Neil Simon gag-a-minute laugh fest, but a more cheerful, clownish affair. What makes the production a success is a top notch cast and tight, yet playful, direction by Michael Blakemore.
The performers are led by a slimmed down Norbert Leo Butz as Jean-Francois Millet, France’s greatest painter, when dead. Butz is gregarious, looney, and self-indulgent—ingredients that add up to a near riotous spectacle. John McMartin’s Papa Leroux, near death in Act I, transforms to a lecherous old goat in Act II to comic perfection. Michael McGrath is more understated than in some of his better roles, but his Agememnon sets in motion the play’s premise and presides over the action like a seasoned ringleader. Jenn Gambatese as Millet’s love interest, Marie, is vulnerable and endearing; and Byron Jennings, a cross between Flash Gordon’s Ming the Merciless and a moustached Wild West villain, plays art dealer, Bastien Andre, with just the right amount of slimy ooze. Special kudos, however, go to David Pittu. Playing multiple cameo roles, one more hilarious than the next, Pittu energizes the proceedings without halting the action. Without his talented turn “Is He Dead?” would not be half as funny. The rest of the cast contributes soundly making “Is He Dead?” a satisfying production.
This is not to detract for what we see on the Lyceum stage, but an acknowledgement that “Is He Dead?” is more a humorous bauble rather than a side-splitting pearl.
The show’s setup revolves around the fact that the paintings of dead artists bring in more money than live ones. Building on this premise sets Twain’s action in motion, mostly to entertaining effect. “Is He Dead?” is not a Neil Simon gag-a-minute laugh fest, but a more cheerful, clownish affair. What makes the production a success is a top notch cast and tight, yet playful, direction by Michael Blakemore.
The performers are led by a slimmed down Norbert Leo Butz as Jean-Francois Millet, France’s greatest painter, when dead. Butz is gregarious, looney, and self-indulgent—ingredients that add up to a near riotous spectacle. John McMartin’s Papa Leroux, near death in Act I, transforms to a lecherous old goat in Act II to comic perfection. Michael McGrath is more understated than in some of his better roles, but his Agememnon sets in motion the play’s premise and presides over the action like a seasoned ringleader. Jenn Gambatese as Millet’s love interest, Marie, is vulnerable and endearing; and Byron Jennings, a cross between Flash Gordon’s Ming the Merciless and a moustached Wild West villain, plays art dealer, Bastien Andre, with just the right amount of slimy ooze. Special kudos, however, go to David Pittu. Playing multiple cameo roles, one more hilarious than the next, Pittu energizes the proceedings without halting the action. Without his talented turn “Is He Dead?” would not be half as funny. The rest of the cast contributes soundly making “Is He Dead?” a satisfying production.
Sunday, January 27, 2008
Review of "The Little Mermaid"
Disney’s stage musicals of its animated movie classics have succeeded because of their creative and imaginative theatricality along with a spoonful of Disney magic. Think of Ann Hould-Ward’s whimsical costumes in “Beauty and the Beast” or the Beast’s spellbinding transformation at the conclusion of that long running show. Or Julie Taymor’s inspired reengineering of “The Lion King” along with her ingenious and breakthrough use of puppertry.
Disappointingly, Disney’s lastest Broadway entry, “The Little Mermaid,” lacks the ingredients so integral to these past successes. The bold, fluid vision that is a Disney hallmark is distressingly lacking. The “Under the Sea” production number is a perfect example. What should be a joyous, raucous, costumed extravaganza is an insipid, watery mess. Tatiana Noginova’s costumes are an embarrassment to the Disney legacy and the energy level would put hermit crab, Sebastian, to sleep. And what are those totem pole-like structures suppose to represent? Flowering underwater trees? Blossoming sea anemones?
The musical’s climatic battle scene with the sea witch is, no pun intended, a Mickey Mouse and lackluster whimper instead of a thundering finale.
So, is “The Little Mermaid” the disaster some have opined? No, in fact young children and tweens might find the production wholly satisfying. While the aforementioned “Under the Sea” number sinks, the tender “Kiss the Girl,” with its understated approach, demonstrates what could have been.
Yet, unlike “Beauty and the Beast” and “The Lion King,” which had entertainment value for grown-ups, “The Little Mermaid” is purely a young person experience.
The musical handles the underwater locale with a certain amount of illusionary success. The impression of gliding through the ocean depths is accomplished using heelys, wheels attached to the web-wear of the mer-people and other assorted undersea characters. But suspension of belief and flickers of stage trickery go only so far. Act I has its moments; Act II seemed like an eternity.
Francesca Zambello’s direction seems scattered, sometimes inspiring, all too often colorless and drab. The same can be said of Stephen Mear’s choreography.
The score, with new material by composer Alan Menken and lyricist Glenn Slater, is underwhelming except for the handful of memorable songs from the movie.
The cast is uniformly fine. Newcomer Sierra Bogges as Ariel, is pretty, pert, and has a lovely singing voice. Eddie Korbich brings much needed comic relief to the show as Scuttle the seagull; Sean Palmer, is flavorless and bland, yet pleasingly sufficient as Prince Eric; and Tituss Burgess has a grand time scurrying across the Lunt-Fontaine stage as the manic Sebastian. However, all others pale aside Sherie Rene Scott as Ursula the eight armed sea witch. Scott is truly menacing in the Disney villain tradition. She seems to relish her role, giving an over-the-top performance. If there is no other reason to pluck down your money for “The Little Mermaid” Sherie Rene Scott is grand justification.
Disappointingly, Disney’s lastest Broadway entry, “The Little Mermaid,” lacks the ingredients so integral to these past successes. The bold, fluid vision that is a Disney hallmark is distressingly lacking. The “Under the Sea” production number is a perfect example. What should be a joyous, raucous, costumed extravaganza is an insipid, watery mess. Tatiana Noginova’s costumes are an embarrassment to the Disney legacy and the energy level would put hermit crab, Sebastian, to sleep. And what are those totem pole-like structures suppose to represent? Flowering underwater trees? Blossoming sea anemones?
The musical’s climatic battle scene with the sea witch is, no pun intended, a Mickey Mouse and lackluster whimper instead of a thundering finale.
So, is “The Little Mermaid” the disaster some have opined? No, in fact young children and tweens might find the production wholly satisfying. While the aforementioned “Under the Sea” number sinks, the tender “Kiss the Girl,” with its understated approach, demonstrates what could have been.
Yet, unlike “Beauty and the Beast” and “The Lion King,” which had entertainment value for grown-ups, “The Little Mermaid” is purely a young person experience.
The musical handles the underwater locale with a certain amount of illusionary success. The impression of gliding through the ocean depths is accomplished using heelys, wheels attached to the web-wear of the mer-people and other assorted undersea characters. But suspension of belief and flickers of stage trickery go only so far. Act I has its moments; Act II seemed like an eternity.
Francesca Zambello’s direction seems scattered, sometimes inspiring, all too often colorless and drab. The same can be said of Stephen Mear’s choreography.
The score, with new material by composer Alan Menken and lyricist Glenn Slater, is underwhelming except for the handful of memorable songs from the movie.
The cast is uniformly fine. Newcomer Sierra Bogges as Ariel, is pretty, pert, and has a lovely singing voice. Eddie Korbich brings much needed comic relief to the show as Scuttle the seagull; Sean Palmer, is flavorless and bland, yet pleasingly sufficient as Prince Eric; and Tituss Burgess has a grand time scurrying across the Lunt-Fontaine stage as the manic Sebastian. However, all others pale aside Sherie Rene Scott as Ursula the eight armed sea witch. Scott is truly menacing in the Disney villain tradition. She seems to relish her role, giving an over-the-top performance. If there is no other reason to pluck down your money for “The Little Mermaid” Sherie Rene Scott is grand justification.
Subscribe to:
Posts (Atom)