Review of "A Tale of Two Cities"

The French Revolution lives again in the new Broadway musical, “A Tale of Two Cities.” Based on the Charles Dickens classic novel of love, courage, betrayal, and sacrifice, “A Tale of Two Cities” is presented in Cliff Notes fashion—hitting all the important plot and character points of the intricately woven story. Initially, the musical proceeds at a brisk pace which, for those unfamiliar with Dickens’ work, allows the drama to build to a satisfying first act climax. However, theatergoers looking for more breadth and depth on the Hirschfield Theatre stage will be sorely disappointed.

The second act compounds the drawback. Even though it encompasses just the latter third of the book, providing more time for the action to unfold, the libretto becomes a bit too ponderous for the production’s own good. This is one of the three major shortcomings of “A Tale of Two Cities.”

The second problem is when the musical veers towards “Les Mis” territory. Comparisons, fair or not, are going to be made between the two historic flavored musicals. But “Les Miseables,” one of the longest running shows in Broadway history was, all around, a stronger, more compelling production. When the cast of “A Tale of Two Cities” lined the stage during the Act I finale, “Until Tomorrow,” I thought I was staring at a revisionist staging of the Alain Boublil - Claude-Michel Schönberg classic.

The primary setback for “A Tale of Two Cities” is the rather lackluster score, punctuated here and there with Frank Wildhorn styled power ballads. A musical undertaking of such a well-known, well-regarded and lengthy tome as “A Tale of Two Cities” needs to possess songs worthy of the Dickens saga. First time composer Jill Santoriello (who performs a trifecta by also writing the musical’s book) is simply not up to the task. While the score is not totally unimpressive the songs cannot rescue the show from its own weightiness and self-importance.

Yet with all the demerits affixed to the production, “A Tale of Two Cities” is somewhat salvaged by the performances of the three leading players. Brandi Burkhardt is beautiful, with a gorgeous voice, as the compelling Luci Manette. Aaron Lazar, handsome, upright and committed, perfectly embodies the spirit of Charles Darnay; while James Barbour has been ideally cast as the doomed Sydney Carton. Barbour’s voice is especially noteworthy, wringing all the emotions he can out of each and every one of his solos. Special mention goes to Nicky Wyman as the scoundrelous John Barsad. Wyman plays the rogue with such relish that you wish Santoriello had more fully shaped the other supporting characters with such three dimensional aplomb.

Tony Walton’s prominent set design, moveable skyward towers, allows for a winning variety of abstract constructs throughout the show. While not ideal, for a musical of this magnitude, they allow for the momentum of the show to carry forward.

Warren Carlyle’s direction gives ample stage time to the three principles, allowing them to bring their forceful presence to the forefront. However, his fast-paced tempo of the show’s beginnings is allowed to implode under its own girth by the musical’s end.

“A Tale of Two Cities” – now at the Al Hirschfield Theater in New York.

Review of "Half a Sixpence'

Take the age old story of boy-meets-girl, boy-loses-girl, boy-wins-girl-back; add a touch of Pygmalion; crowd pleasing choreography; and an endearing and beguiling lead character; and you have the key ingredients to The Goodspeed Opera House’s winning production of the infrequently revived, Half a Sixpence. Based on the H.G. Wells novel, “Kipps,” the musical follows shop clerk Arthur Kipps, an everyman’s bloke in the seaside town of Folkstone, as he woos his childhood sweetheart, Ann. Along the way Kipp’s financial fortunes take a huge leap forward and his romantic courtship becomes temporarily sidetracked. Social class and standing are also an underlying theme throughout the show.

Steeped in the British music hall tradition, Half a Sixpence boasts numerous large-scale production numbers that are as delectable and frothy as any of the confections sold along the seaside’s boardwalks. Choreographer Patti Colombo pulls out all the stops in her inventive and rousing dance routines, most of the time employing all of the large cast on the diminutive Goodspeed stage.

Central to the show’s sustainability and enjoyment is the lead actor portraying Arthur Kipps. The person needs to be a sure-fire triple threat—singing, dancing, and acting up a storm. Without the proper fit, the musical would languish under Beverley Cross’ rather pedestrian book. Fortunately, Goodspeed landed Jon Peterson for the role of Kipps. He is an engaging and affable performer that immediately connects with the audience. Peterson is the type of mate you’d go out to have a beer with or just shoot the breeze. He brings a satisfying singing voice and dazzling, athletic dance moves to the role.

The rest of the sizeable cast is professional and spirited, most notably Jeff Skowron as the bon vivant playwright, Chitterlow. The one shortcoming was the rather lackluster chemistry between Peterson and Sara Gettelfinger, who portrays the love of his life, Ann. For a couple supposedly smitten with each other, their scenes together produced far too few sparks.

The lean score by David Heneker provides a number of gems including the rousing “Money to Burn,” “If the Rain’s Got to Fall,” and “Flash, Bang, Wallop;” and the lovely ballads, “Long Ago’” and “I Know What I Am.” Selections from Half a Sixpence can be heard on the August 10, 2008 edition of my radio program, "On Broadway." The production numbers accompanying “If the Rain’s Got to Fall,” and “Flash, Bang, Wallop” alone are worth the price of admission.

The creative team of Rob Bissinger, scenic design; David Woolard, costumes; and Jeff Croiter, lighting design; provide the musical with an authentic feel for a turn-of-the-century English coastal town where the working class and the upper stratum of society exist side by side.

Director Gordon Greenberg deftly guides the action through the multiple set changes, keeping the buoyancy of the production gliding along smoothly throughout.

“Half a Sixpence,” a flash, bang, wallop of a show, now at The Goodspeed Opera House through September 19, 2008.

Review of [title of show]

[title of show], the first musical of the new Broadway season, gives hope to the multitudes of individuals that dream of creating a show for The Great White Way. Hunter Bell, who wrote the show’s book; and Jeff Bowen, the score; were two out of work actors when the genesis of their quirky, decidedly downtown flavored show, came together. Simply, with three weeks until the submission deadline for the 2004 New York Musical Theater Festival, the two thespians concocted a musical based on two struggling actors named, surprisingly, Jeff and Hunter, who have only three weeks to write a musical for an upcoming festival. The rest is, as they say, theatrical history:

1. their entry was accepted.
2. after playing their six performances at the New York Musical Theater Festival, an Off-Broadway producer optioned the production for an open run at the Vineyard Theater.
3. a cast album was recorded and released on Ghostlight Records.
4. after the Off-Broadway stint, the two collaborators produced a series of Internet videos for YouTube to keep interest in their off-spring alive.
5. the videos reignited interest from producers.
6. the newly tweaked [title of show] opened on Broadway.

So, what exactly is [title of show]? Well, it is not a large scale musical with a huge cast, lavish sets, over produced production numbers, or a fully stocked pit band. [title of show] consists of four, casually dressed people—Hunter Bell and Jeff Bowen, and their two female friends—Susan Blackwell and Heidi Blickenstaff--who work on bringing the musical to life in Hunter’s slightly drab apartment. With only four chairs on stage, along with musical director, Larry Pressgrove, sitting behind his keyboard—the sole musical accompaniment, [title of show] concentrates on the actor’s angst and insecurities and, finally, their exuberance as they conceive and mold their show.

The 90 minute, intermissionless production, caters to a more knowing theater going crowd then a bridge and tunnel or tourist clientele. Obscure musical theater and cultural references populate the show. One ongoing gimmick is listening to the playback of Hunter’s answering machine as one musical theater actress after another, including Marin Mazzie, Alice Ripley, and Christine Ebersole, turn down an offer to appear in their show. The casual theater going public would probably be scratching their head for lack of recognition (okay, they would know Patti Lupone), but for people like myself the bit brought a knowing smile.

One of the best numbers in the production is a showcase for the arcane as memorable, and not so memorable, Broadway flops are commemorated in the song, “Monkeys and Playbills,” which incorporates the titles of such failed shows as “Dude,” “Merrily We Roll Along,” “Smile” and many others into the lyrics of the song. The July 27, 2008 broadcast of “On Broadway” features these songs.

The four actors are affable and funny while at the same time exuding the whole gamut of emotions—the good, the bad, the ugly--inherent in individuals pursing the acting profession. The score can be witty and knowing; the direction and choreography by Michael Berresse is breezy and light.

[title of show], a musical that provides proof in the power of positive thinking as well as being a tonic for all the musical theater aficionados in the world.

Thoughts on Tony Telecast and Awards

Here are some random thoughts about the Tony telecast and the winners in the musical theatre category…

• 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!!

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.]

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.

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.