Review of "City of Angels" - Goodspeed Opera House

City of Angels, the last show of the Goodspeed Opera House’s season, is probably one of the most acclaimed, award-laden musicals that people have never heard of. The show ran for almost 900 performances on Broadway and won a slew of the major 1990 Tony Awards including Best Musical, Best Score, Best Book, and Best Actor, but this infrequently revived hit rarely registers with all but the most ardent of Broadway fans. The production, a more contemporary offering then what is usually in the Goodspeed line-up, is a lively, sexy, well-crafted musical comedy with just one annoying feature (more on that later).

City of Angels is a show within a show. The plot centers around author, Stine, played with winning nimbleness and intelligence by D.B. Bonds, who is trying to craft his murder mystery into a screenplay. While Stine writes his characters come to life as a film noir feature, from the 1940’s, giving us two simultaneous plot lines. During this process Stine also has to deal with the interfering, self-important producer-director, Buddy Fidler, played with narcissistic splendor by Jay Russell; marital woes; infidelity; and his own moral values.

Stine’s alter ego, Stone, a hard-boiled private detective right out of central casting, is played to perfection by Burke Moses. He’s headstrong, obstinate, and the embodiment of every Dashiell Hammett or Mickey Spillane protagonist. Nancy Anderson, in the dual role of Oolie (Stone’s girl Friday from the movie storyline) and Donna (Buddy Fidler’s flirtatious assistant) is marvelous shifting back and forth between the sensual (Donna) and repressed (Oolie). While these three cast members standout, as usual at Goodspeed, all the actors in the show are first-rate.

The story goes back and forth between the real and the not-so-real culminating in a satisfying conclusion for both.

There are a number of reasons that elevate City of Angels to such a gratifying level. First is Larry Gelbart’s well-conceived, well-written book for the show. It’s smart, funny, and sophisticated without being pretentious or overly complicated. The score by Cy Coleman, according to Josh Ritter, the Education and Library Director for Goodspeed, is the first hit musical to feature a full-blown jazz score. While I’m not a jazz aficionado I found the music by Coleman and the lyrics by David Zippel to contain breezy, well-crafted songs that play well in the parallel settings.

Director Darko Tresnjak keeps the show fast-paced which is quite an accomplishment considering there are 40 scenes throughout the production, some short, others more extended. Either way he guides the musical with a steady, creative hand.

One of the hallmarks of a Goodspeed show is the scenic design for such a small performance space and David Gordon doesn’t disappoint. He uses the raising and lowering of multi-length venetian blinds to reveal the action on stage. The simple, unadorned sets allow for quick scene changes as well as providing the atmospheric motif for the dual setting.

My one annoyance with the production is its overuse of projections beamed on-stage. Goodspeed purchased a system this year and, while its use in the Opera House’s first musical of the year, My One and Only, was appropriate here Shawn Boyle’s projection design have gone overboard. For example, do we really need feet with toe tags projected on the side of the stage during the morgue scene? As I mentioned earlier, the Goodspeed Opera House’s hallmark is its clean, streamlined sense of scenic style. When projections are overly emphasized they become the focus. Do we really want patrons exiting the theater talking about this aspect of the show? If projections are part of the future, I hope their use is more moderated.

Nonetheless, City of Angels is clever, witty and flirtatious fun. The Goodspeed Opera House should be applauded for reviving such a rarely seen work. Now through November 27th.

Review of "Jersey Boys" - Bushnell Auditorium

The Broadway smash and worldwide touring sensation, Jersey Boys, makes a triumphant return to the Bushnell Auditorium. The musical, for those not familiar with the production, traces the formation and rise to the top of the charts of the Rock and Roll Hall of Fame group, The Four Seasons (only after three of the four original members left did the group become known as Frankie Valli and the Four Seasons).

During its first visit to Hartford, two years ago, I felt the show lacked cohesion as the actors were more caricatures—over emphasizing their rough and tough Jersey roots (and accents)--then portraying real characters. This time around the musical is like a tight, well-rehearsed horn section—full of punch and self-assurance.

The first part of the show builds slowly as characters are introduced, plot lines set-up. However, it’s not until just over halfway through Act I does Jersey Boys begin to hit its stride as the group rockets up the charts with back-to-back-to-back number one hits. The songs encompass the best of the Four Seasons songbook including “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” “Can’t Take My Eyes Off You,” “Rag Doll,” and many more.

The four stars—Preston Truman Boyd as singer/songwriter, Bob Gaudio; Michael Lomenda as the idiosyncratic, Nick Massi; John Gardiner as the coarse, loudmouth, and self-appointed leader of the group, Tommy DeVito; and Joseph Leo Bwarie, as the diminutive lead singer, Frankie Valli—breathe life into their real-life counterparts. Bwarie, especially, has matured into the role of Frankie Valli. He has played the lead singer for a number of years, but this time around he his portrayal is more nuanced and forthright.

The book by Marshall Brickman and Rick Elice cover a lot of historical ground which, especially in Act II, feels more like a greatest hits collection of the group’s lives as one major event after another is displayed on stage. Still, they handle their assignment deftly, hitting the highs and lows of each member focusing primarily on Frankie Valli after intermission as he steps out to lead a reconfigured Four Seasons.

Director Des McAnuff keeps the show moving briskly from one scene to the next with skillful and self-assured hands. He knows how to pace the production between the peaks and valleys of the storyline, resulting in a satisfying theatrical experience.

Jersey Boys, now at the Bushnell Center for the Performing Arts through November 6th.

Broadway Picks for 2011-2012

Last year I put up a list of Broadway shows I was looking forward to seeing for the 2010-2011 season. It was an eclectic list, mostly musicals, that ended up being a mixed bag of disappointments, non-openings, and few successes. Oh well.

This year there is a lot of star power coming to Broadway, but few interesting, new musicals that are totally, unequivocally, indisputably, without question set to open. So, here is my Top Ten list, in date order, of the Broadway productions I most want to see for the 2011-2012 season. We’ll talk in May about my choices.

RELATIVELY SPEAKING
New comedies by Woody Allen AND Elaine May AND Ethan Coen (as in the Academy Award winning Coen brothers) in one night! Granted, they are all one acts, but how else to squeeze in all three. The cast, a real smorgasbord of television, movie and theater actors, that includes Steve Guttenberg, Julie Kavner, Grant Shaud, Marlo Thomas, and Mark Linn-Baker. Could be a VERY funny night in the theater.
First Preview: scheduled for September 20, 2011
Scheduled Opening: October 20, 2011

HUGH JACKMAN, BACK ON BROADWAY
Tony winner, mutant, movie star, award show emcee, Aussie, song and dance man—is there anything I’ve left out—comes back to Broadway in a one-man show that is sure to be a crowd pleaser and SRO. Pulling out all the stops, there will even be an 18-piece orchestra backing him up.
First Preview: scheduled for October 25, 2011
Scheduled Opening: November 10, 2011
Special Note: This is a limited run with a scheduled January 1, 2012 closing.

BONNIE AND CLYDE
A positive buzz for a Frank Wildhorn musical? That hasn’t happened for quite a few years. The much maligned, power ballad crazed composer might have his first hit since Jekyll & Hyde over 20 years ago with the forthcoming Bonnie and Clyde. The man behind The Scarlet Pimpernel (decent run), The Civil War (flop), Dracula, the Musical (disaster), Wonderland (huge flop), and many more regionally produced shows comes in with the first non-revival of the year. In addition to the good word-of-mouth, the musical’s Clyde—Jeremy Jordan--has just opened to positive reviews in a stage production of the Disney movie, Newsies (which itself may end up on Broadway this year) at the Paper Mill Playhouse in New Jersey. Jordan has actually been shuttling between NJ, for Newsies, and NYC for rehearsals of Bonnie and Clyde.
First Preview: scheduled for November 4, 2011
Scheduled Opening: December 1, 2011

LYSISTRATA JONES
I will admit I don’t know much about this musical, but it was all the rage Off-Broadway last year. Something downtown, something original, and something edgy. The question is will it work uptown? Will it be this year’s Bloody Bloody Andrew Jackson, which worked so well in its initial run at The Public Theater and then crashed on Broadway?
First Preview: scheduled for November 12, 2011
Scheduled Opening: December 14, 2011

ONE A CLEAR DAY YOU CAN SEE FOREVER
This revival, originally set for an Off-Broadway run, was moved to Broadway once Harry Connick Jr. became involved with the production. Connick is a crowd pleaser and a true leading man with a role perfectly fit for his talents. A delightful score, with many memorable songs, by Burton Lane and Alan Jay Lerner (bit of trivia—according to Richard Rodgers, in his autobiography, he and Lerner were working on an ESP musical before differences ended the would-be collaboration. Soon after, Lerner and Lane came out with On a Clear Day).
First Preview: scheduled for November 12, 2011
Scheduled Opening: December 11, 2011

A EVENING WITH PATTI LUPONE AND MANDY PATINKIN
Let’s see--friends since their school days at Julliard and Tony winners for their respective roles in Evita. Add in an armful of memorable Broadway roles and electrifying solo concerts. Now combine these two powerhouse and emotive entertainers on one stage and you can almost feel the earth move. Goodness, one of them in concert would be worth the price of admission, but both. OMG!
First Preview: scheduled for November 16, 2011
Scheduled Opening: November 21, 2011
Special Note: This is a limited run with a scheduled January 13, 2012 closing.

PORGY AND BESS
One of the most talked about and critically examined shows of the year, including a scathing letter to The New York Times by Stephen Sondheim, this Broadway bound version of the Gershwin classic (inexplicably renamed as The Gershwin’s Porgy and Bess) has many theater-goers wondering what the uproar is all about. We’ll soon have our chance to chime in. Oh, and then there is the very talented cast headed up by Audra McDonald who’s return to the Broadway stage—no matter what the show—is always cause for celebration. In addition, there are Norm Lewis, David Alan Grier, and Joshua Henry (a standout in last year’s The Scottsboro Boys).
First Preview: scheduled for December 17, 2011
Scheduled Opening: January 12, 2012

ENTER LAUGHING
On my list from last year, but definitely scheduled for this season, Enter Laughing was one of the highlights from the 2008-2009 Off-Broadway theater season. The musical, in reality, a revival of the failed 1976 musical, So Long 174th Street, was hysterical and featured a comic tour de force by the young actor, Josh Grisetti, who will, once again, star as the stage struck teenager trying to break into show business. A number actors from the original York Theater production will also be making the trip to Broadway, including husband and wife, Jill Eikenberry and Michael Tucker.
First Preview: To Be Announced
Scheduled Opening: To Be Announced

NICE WORK IF YOU CAN GET IT
In 1983 there was a musical called My One and Only that incorporated Gershwin songs, that starred a charismatic male lead (Tommy Tune), and an engaging female star (Twiggy). The show was fun, frivolous and a hit of the Broadway season. Fast forward almost thirty years and a musical incorporating Gershwin songs, starring an appealing male lead (Matthew Broderick) and a captivating female star (Kelli O’Hara) is set to open on Broadway. Can lightening strike twice? With Broderick and O’Hara singing and dancing up a storm (the director is Kathleen Marshall) will the Gershwin estate once again score a Broadway hit.
First Preview: Spring 2012
Scheduled Opening: To Be Announced

ON THE TWENTIETH CENTURY
A few months ago I heard, maybe read, that Kristen Chenoweth was planning to star in a revival of the 1978 musical On the Twentieth Century, playing the role that Madeline Kahn originated (but only played for a short time). Kahn was Lily Garland, a temperamental movie diva and Chenoweth would be perfect for the role. The only problem—is the production more rumor or more fact? Also, in the original you had Kevin Kline (Tony Award) and John Cullum (Tony Award) that could go toe-to-toe with Madeline Kahn. Unless you have two actors that can do the same a revival will become more of “On the Kristen Chenoweth.”
First Preview: Unknown
Scheduled Opening: Unknown

Review of "Show Boat" - Goodspeed Opera House

Let me state right at the start, the Goodspeed Opera House’s production of Show Boat is one of the best shows I have seen there in recent memory. The Jerome Kern and Oscar Hammerstein II classic radiates with emotional intensity, standout performances, and a celebrated score.

Show Boat, historically, is a large-scale musical. The early 1990’s Broadway revival was a lavish production where the riverboat itself was probably the size of the Goodspeed theater. But director Rob Ruggiero and his creative team have successfully pared down the musical, focusing on the relationships and interactions of the characters as opposed to emphasizing the grandiose spectacle.

The first act of the sprawling story, based on the Edna Ferber novel, takes place on the Cotton Blossom, the showboat run by Captain Andy. He, his crew, and band of entertainers ply the waters of the Mississippi, bringing dramatic readings and showgirls to the populace up and down the river. In quick succession we are introduced to the central characters—the fatherly Captain Andy; his wife, the stern, no-nonsense Parthy; their young, care-free daughter, Magnolia; the star performers, Steve Baker and his rapturous wife, Julie; the gentlemanly scalawag, Gaylord Ravenal; the squawking, yet talented dance team of Ellie May Chipley and Frank Schultz; and the two African-American boat hands, the deep-voiced, able-bodied, Joe; and his sensible, dignified wife, Queenie. There is young love, racial commentary, treachery, and comedic touches that enliven the action and set the stage for the heartbreaking and poignancy of Act II.

There are so many aspects of the musical to praise, but the first must be the groundbreaking score by Jerome Kern and Oscar Hammerstein II. Kern and Hammerstein were attempting to break free from the light-hearted, operetta mode so entrenched on the American stage. They were looking to add more depth and emotion to their work. With Show Boat they succeeded flawlessly. In Act I alone, we are treated to “Only Make Believe,” “Ol’ Man River,” “Life Upon the Wicked Stage,” and “You are Love.” Act II adds “Why Do I Love You” and “Bill.”

The songs are sung by a highly accomplished cast, all delivering finely polished performances. Let me, unjustly on my part, only single out five, starting with the Captain himself, Lenny Wolpe. His Captain Andy is paternal, supportive, and protective; the glue that holds the production together. He is always the reassuring core when trouble or discord take hold. He is so effortless in his role that you could easily envision Wolpe as the man in charge of a Mississippi riverboat. Lesli Margherita, a radiant and vulnerable Julie, has a dynamic, emotive voice that accentuates her character’s tragic nature. David Aron Damane, as the strapping Joe, sings with power and dignity. Sarah Uriarte Berry, as Magnolia, who metamorphoses from a young, unsophisticated lass to a hardened, world-weary woman, textures her role with impressive range and vitality. Her duets with Ben Davis’ Ravenal are some of the highlights of the production. Davis, the handsome rogue who wins the heart of Magnolia, the daughter of Captain Andy and Parthy, demonstrates a swagger and defiance that makes him both appealing and exasperating at the same time.

As I stated earlier, director Rob Ruggiero has woven together a magical production, no small feat considering the heft and history behind the musical. He assuredly takes the material from the Oscar Hammerstein II libretto and, by coaxing superb performances from the cast, presents an expansive, yet intimate portrayal from the late 1800’s to the early 20th century.

Noah Racey’s choreography, while minimal, develops naturally from the action on stage; the production numbers sprout organically from the storyline. He also gets to showcase the comedic and dancing talents of Jennifer Knox as Ellie May Chipley and Danny Gardner as Frank Schultz. Michael Schweikardt’s scenic design provide just enough substance and artifice for the audience to “Only Make Believe, ” whether on a Mississippi riverboat, a Chicago tenement or nightclub.

Show Boat, coming to life at the Goodspeed Opera House in East Haddam, CT, extended now through September 17th.

What to See on Broadway in 2011

For the past few years I have listed my recommendations for people coming to New York to see a Broadway show. Below are my most up-to-date choices for June 2011. While there are a number of noteworthy productions, many of the top shows are continuously sold out and, therefore, advance planning is in order.

So, what are my top suggestions? I have broken them down into five categories:

Tikes – ages 6-9
Tweens – ages 10-13
Teen – ages 14-17
Young Adults – 18+ years
Adults

When I make a recommendation it is usually with the understanding that an individual or family has not been to the Broadway stage very often. I am looking at shows I might think the occasional theater-goer would enjoy.

I lean towards the newer shows, but this is not a knock against some of the old-timers such as Mamma Mia and Phantom of the Opera. However, this is all an inexact science with numerous variables to consider. For example, a Tween girl will probably love Wicked, but a boy…? Conversely, a Tween or Teen boy might be enthralled with the spectacle of Spider-Man, but a girl…? Other considerations -- Is one seeking a musical comedy or more serious production? What might appeal to two or three age groups at the same time? What about a mature eleven year old girl? What do we do about her? Etc. Etc.

I have not included such shows as The Book of Mormon, Jersey Boys, The Lion King, or Wicked as any of the primary choices since these shows are almost always sold out and you would have to pay a king’s ransom to acquire decent seats (Jersey Boys has been more available, but is still at 97%-98% capacity). I have included some of these shows at the end of each category under the heading – “IF AVAILABLE/LONG-RANGE PLANNING.” If one of these productions is available, disregard my rankings and scoop up the tickets pronto! If you are planning a Broadway trip down the road, it will be easier to procure tickets to these hard-to-get shows. Just expect to pay full price.

Speaking of procuring tickets, there are a number of ways to obtain theater tickets quite cheaply. You can refer to a previous blog I wrote.

The only non-musical I have included on my list is War Horse. If tickets are available – go! Fortunately, what was suppose to be a limited engagement is now an open-ended run.

Foul language is very subjective. I had a parent email me concerned about Billy Elliot. Yes, there are language issues with that musical, but nothing unheard of in middle and high schools across the country. And Billy Elliot is such a great show—the music, the dancing—I would not overlook the production because some of the young kids are cursing. The revival of Hair, coming back for a summer run, might cause some trepidation. The Book of Mormon is in a “language” category all by itself. If you or your children enjoy South Park and are not bothered by the language, then The Book of Mormon is just up your alley.

Within the listings there is considerable overlap. For example, The Lion King could enthrall everyone, from TIKES to ADULTS. The age ranges of each category can be flexible at either end of the spectrum so a TWEEN may in fact be quite comfortable in a YOUNG ADULT show. You may scratch your head about why I left a certain production off a category. For example, Chicago is not listed even though it has been playing for years and continues to do well at the box office. But Chicago is getting a bit old in the tooth and there are more worthy shows to plop down your money for. Finally, just because a musical is not on my lists does not mean it is undeserving of your patronage. Remember, these are my opinions. Shows that I have previously reviewed are linked to that review. So, without further ado…drum roll please…

TIKES (6-9 years old)

There use to be many Broadway shows for this age group, but the recommendations are now down to:

1. Mary Poppins – When I saw the show there was a bevy of very young children directly in front of me. They didn’t make a peep. Enough said.
   
2. Spider-Man – For TIKES at the older level. There are some scary moments when the monsters start attacking New York City. Not a great show, but with all the high-flying inside the theater the kids will be enthralled.

IF AVAILABLE/LONG-RANGE PLANNING – The Lion King.

TWEENS (10-13 years old) This is always a difficult category since, as parents know, a lot of changes are percolating inside of tweens. Are they a young or mature tween?

1. Billy Elliot – Not consistently selling out these days. Excellent score by Elton John and the dancing is some of the best on Broadway. TWEENS will be able to identify with the kids. Adults will find the story gripping.
   
2. Sister Act – When the action is inside the convent, Sister Act is a spirited, lively and entertaining Broadway musical.
   
3. The Addams Family – I found the show, based on the New York cartoons of Charles Addams, inoffensive and mildly amusing. TWEENS will probably like it because of the ghoulish nature of the source material.
   
4. How to Succeed in Business – I was disappointed with the show, but if your TWEENS are huge Harry Potter fans this would be a popular choice.
   
5. Spider Man – see under TIKES.
   
6. Phantom of the Opera – Like the Energizer Bunny this Andrew Lloyd Webber warhorse goes on and on and on. Very theatrical with one of Webber’s most melodic and recognizable scores. Might be a bit scary. And where else would you find a crashing chandelier.

IF AVAILABLE/LONG-RANGE PLANNING (in order) - Wicked, or The Lion King.

TEENS (14-17 years old)

1. Hair – One of the seminal rock musicals with another classic score. Youthful, energetic cast makes this a must see. Some language issues and nudity.
   
2. Billy Elliot – see under TWEENS.
   
3. Memphis – characters you care about, excellent performances and solid score.
   
4. How to Succeed in Business – I was disappointed with the show and while Daniel Radcliffe gives it his all his casting of J. Pierpont Finch was all-wrong. However, a must for Harry Potter fans.
   
5. Sister Act – see under TWEENS.
   
6. The Addams Family – see under TWEENS.
   
7. Spider-Man – see under TWEENS.
   
8. Mamma Mia – I thoroughly enjoyed Mamma Mia, but this recommendation is ONLY if you are an ABBA fan.
   
9. The Phantom of the Opera – see under TWEENS.

IF AVAILABLE/LONG-RANGE PLANNING (in order) – The Book of Mormon, War Horse, Wicked, or The Lion King.

YOUNG ADULTS (18+ years old)

1. Hair – see under TEENS.
   
2. Memphis – see under TEENS.
   
3. Anything Goes – a bit low-key, but when Sutton Fosters revs up her dancing shoes and singing voice the show really heats up.
   
4. Billy Elliot – see under TWEENS.
   
5. How to Succeed in Business – see under TEENS.
   
6. Sister Act – see under TWEENS.
   
7. Mamma Mia – see under TEENS.
   
8. The Addams Family – see under TWEENS.
   
9. Phantom of the Opera – see under TWEENS.
   
10. Rock of Ages – retro, 1980’s power rock musical. For the classic rock crowd.

IF AVAILABLE/LONG-RANGE PLANNING (in order) – The Book of Mormon, War Horse, Wicked, or The Lion King.

ADULTS

1. Anything Goes – see under YOUNG ADULTS.
   
2. Memphis – see under TEENS.
   
3. Billy Elliot – see under TWEENS.
   
4. Sister Act – see under TWEENS.
   
5. Phantom of the Opera – see under TWEENS.
   
6. Mamma Mia – see under TEENS.
   
7. The Addams Family – see under TEENS.
   
8. How to Succeed in Business – see under TEENS.

IF AVAILABLE/LONG-RANGE PLANNING (in order) – The Book of Mormon, War Horse, Jersey Boys, or Wicked.

Still unsure? Email me at Broadway99@comcast.net with your specific situation and I can see what I can recommend.

Review of "Spider-Man: Turn Off the Dark"

At long last the embattled musical, Spider-Man: Turn Off the Dark, has finally opened. While I have followed the travails of the show in the media over the past six months, I have not seen any previous incarnations. Therefore, my review is based solely on my attendance at the official press night earlier this month.

So, what is the verdict? Has all those months or reworking, rewrites, restaging, reimagining, re-this, and re-that produced a hit or miss? Spider-Man, unfortunately, fails as a fully developed Broadway musical. I would classify it more as a Las Vegas spectacular or a Cirque de Soleil extravaganza. The story is banal, the characters are two-dimensional; and the score by Bono and The Edge of the rock super group, U2, is solemn with few unmemorable songs and too many overarching power ballads.

The plot follows the birth of the Spider-Man character—young Peter Parker, visiting a genetic engineering research firm, is accidentally bitten by a radioactive spider, thus enhancing the geeky high school student with superhuman powers. At the same time his body is undergoing such drastic physical and emotional change Parker is dealing with the death of his beloved uncle; his relationship with would-be girlfriend, Mary Jane Watson; and how to rid New York City of a small army of genetically created monsters, wrecking havoc around The Big Apple.

The cast is satisfactory with Reeve Carney as Peter Parker/Spider-Man and Jennifer Damiano as the love of his life, Mary Jane, notable primarily because they are on stage most often. Carney, brooding and contemplative, tries to salvage his role, but with the mostly rewritten book by Roberto Aguirre-Sacasa (original librettists Glen Berger and Julie Taymor are also credited) more a life-like depiction of a Spider-Man comic book there is no way Carney, as well as any cast member, can develop true, emotionally well-rounded characters.

The score by Bono and The Edge is not up to the ususal U2 standards. I doubt any of the numbers would have made the final cut for one of their multi-platinum selling albums. The songs are rather cheerless and moody pieces. Yes, the two are newcomers to the Broadway stage and with all the disarray swirling around the development of the production they could be given a break. But trying to write a Broadway score long distance—the group was touring Australia and New Zealand during a good amount of time during the show’s gestation period—proved to be an unsuccessful formula.

The director or, as he is billed in the Playbill, “Creative Consultant,” (ousted director, Julie Taymor, is still listed as “Original Direction by”) Philip McKinley has a background in Broadway musicals, but is better known as conceiving and directing multiple editions of Ringling Bros. and Barnum & Bailey’s The Greatest Show on Earth. This experience serves him well in supervising the aerial daredevilry and stunts (more on that later). But the direction of the non-high-flying portions of the show are matter-of-fact and are only salvaged by George Tsypin’s imaginative and striking sets (again, more later). The choreography, by Daniel Ezralow and Chase Brock, which could potentially inject life into the musical, is lackluster and uninspired.

So, what’s positive about the show? The backdrops, scenery and projections are superb (you know a production is in trouble when that’s its most outstanding feature). If the rest of the musical was half as good, Spider-Man would be a smash hit. Viewing certain set pieces unfold into buildings and neighborhoods; moveable parts assemble around the stage, giving breadth and depth to the city; and large stage encompassing projections utilized to heighten the fear and terror brought forth by the super-villain, The Green Goblin and his henchmen, you can begin to understand why Spider-Man is the most expensive show in Broadway history. One of the more striking scenes is when the two teenagers are walking home, after Peter Parker has been roughed up at school, and as they head through their rundown streets the neighborhood scenery unfolds and changes via the pages of an oversized picture book. In “Bouncing Off the Walls,” the soon-to-be Spider-man begins to discover his new powers and, literally, begins to climb and bounce off the walls of his room. It is a simple, but effective scene.

Lastly, there are the high-flying aerial derring-dos, what the musical has infamously become known for during all these months leading up to its opening night. The aerial design and rigging by Scott Rogers and Jaque Paquin is impressive—up to a point. After a while the wow factor begins to fade as the jumping and ricocheting around inside the interior of the Foxwoods Theatre becomes a bit tiring. Even the climatic battle scene, played out above the audience, between Spider-Man and The Green Goblin wears thin rather quickly.

Spider-Man: Turn Off the Dark, a lightweight entertainment spectacle more three-ring circus then Broadway musical.

Review of "The Mad Bomber" in Waterbury, CT

During the late 1940’s to mid-1950’s, George Metesky of Waterbury, a former Consolidated Edison employee, disgruntled over an injury received on the job, began a reign of terror in New York City by planting pipe bombs in well-known and well-traveled places in the city. He became known as “The Mad Bomber” and part of his story is now the basis for a world premiere musical at the Seven Angels Theatre in Waterbury, CT.

The show, entitled “Mad Bomber,” is, at best, viewed as what might be the first step in a long process to fully realize its potential. Many new musicals go through a systematic developmental route to work on all aspects of a show. This would involve staged readings, workshop productions, out-of-town tryouts and, finally, opening night. The current production of the “Mad Bomber” could be classified as being at the workshop stage.

There are two areas of the musical that the creative team needs to address. First, is the direction of the show. Many players are introduced at the onset—New York City Mayor, Robert Wagner; Police Commissioner Kennedy; Democratic boss, Carmine DeSapio; James Brussel, a psychiatrist and profiler—with the sole purpose of providing an unnecessary amount of background information (which is already provided in the program). This needless exposition and introduction of real-life characters serves no real purpose in moving the action forward and delays the focus of the musical—the story of George Metesky. However, Charles Monagan, who wrote both book and lyrics to the “Mad Bomber,” has included in the cast two reporters, Sally Jo Dorman and Billy Breen, from competing newspapers that helped break the case. While the roles need more development, the two, played with charm and vitality by Cassie Okenka and Bobby Grouse, could be the thread to provide a coherent structure to the production. This would also allow more of the George Metesky character who is only seen spottily throughout the show.

The second issue that needs to be examined is the tone of the musical. What is the overall objective? Does the musical want to have darker, more cynical overtones? Is it looking to be a more lighthearted, romantic romp (as when Sally Jo and Billy inexplicably go into an entertaining, but baffling tap routine)? The production zigs and zags from one shade to another, incorporating too many styles instead of focusing on one. The one scene I thought worked extremely well, with menacing nuances and dramatic tension, was during the song, “Dear Sir,” where, in a split stage, Sally Jo is composing open letters to the Mad Bomber and reading the responses to her newspaper while on the other side of the stage Metesky composes his rantings and berates his treatment by the publication and the world. If the essence of those moments on stage could be expanded to the whole production, the “Mad Bomber” could become riveting theater. Meaningless characters, pointless scenes and superfluous songs could be excised, replaced with material that would build to a gripping climax.

John Swanson, as George Metesky, gives a world-weary performance, but he comes across as more upset then someone who, at the end of his eventual trial, was declared a paranoid schizophrenic and legally insane. In addition to Cassie Okenka and Bobby Grouse, both who demonstrate wonderful singing voices; Matt Martin’s performance during “The Paris of Naugatuck Valley” is a highlight of the show.

The score by Richard DeRosa and Charles Monagan has some promising numbers but, like the libretto, needs work in crafting songs that better flesh out the characters in the show and more effectively move along the plot of the production.

Director Semina DeLaurentis works well with the material presented to her, but as the leader of the creative team needs, in this case, to function more as an editor, critic and cheerleader to further shape and mold the material; choreographer Janine Molinari needs to bring a consistent and appropriate style to the musical. Is tap and some ballroom dance steps germane to the thrust of the show?

The “Mad Bomber” – a promising premise that needs further development in order to realize its full potential, playing at the Seven Angels Theatre in Waterbury, CT now through June 26th.