Monday, March 28, 2011
You're The Flop?
As you may or may not know, the Roundabout Theater Company is currently staging a Broadway revival of the Cole Porter classic Anything Goes at their Stephen Sondheim Theater. Above, is Sutton Foster and some man I've never heard of singing one of the shows many standards, "You're the top". Take a moment and watch it before reading my comments. It is posted on my blog page. Go ahead, I'll wait.
It's not very good is it? The singing is fine. That isn't the problem. The problem lies in the acting, or lack thereof. Sutton Foster is a very gifted comedienne. She is faced with a challenge in this role however, of playing somebody that she doesn't quite have the life experience and maturity to play. She is very good at playing funny sexy, but we have yet to see her play sexy sexy. Yes there was the off Broadway play TRUST in which she played a dominatrix, but that was not a buoyant musical from the 1930's.
The thing that is missing most from this performance, more so from he who cannot be named (because I don't know what it is), than from Ms. Foster, is a complete lack of discovery of the lyrics. You can tell that the characters already know what they are going to say before they say it, as opposed to them figuring out a moment before.There is also very little delight in the words that they come up with. Mr. Porter is an expert of the internal rhyme, and these two aren't having nearly enough fun. They are missing the joy in the number.
The is still n previews, and there is ample opportunity for these things to be fixed. Hopefully their director/choreographer Kathleen Marshal will be able to guide them in the right direction. My hopes, unfortunately, have sunk like the boat in the original version of the script.
It's not very good is it? The singing is fine. That isn't the problem. The problem lies in the acting, or lack thereof. Sutton Foster is a very gifted comedienne. She is faced with a challenge in this role however, of playing somebody that she doesn't quite have the life experience and maturity to play. She is very good at playing funny sexy, but we have yet to see her play sexy sexy. Yes there was the off Broadway play TRUST in which she played a dominatrix, but that was not a buoyant musical from the 1930's.
The thing that is missing most from this performance, more so from he who cannot be named (because I don't know what it is), than from Ms. Foster, is a complete lack of discovery of the lyrics. You can tell that the characters already know what they are going to say before they say it, as opposed to them figuring out a moment before.There is also very little delight in the words that they come up with. Mr. Porter is an expert of the internal rhyme, and these two aren't having nearly enough fun. They are missing the joy in the number.
The is still n previews, and there is ample opportunity for these things to be fixed. Hopefully their director/choreographer Kathleen Marshal will be able to guide them in the right direction. My hopes, unfortunately, have sunk like the boat in the original version of the script.
Saturday, March 26, 2011
Arcadia
Tom Stoppard's Arcadia is a bit like a Stephen Sondheim Score, you're not quite sure if you like it at first, but by the end it's got you both excited and confused. The play exists in two different time periods, the early 1800's and present day. The action takes place in the same room, 150 years apart.
Without revealing too many of the details, the modern characters are attempting to solve a "mystery" of what happened concerning a duel, a hermit, and Lord Byron, yes that Lord Byron. While these characters draw their erroneous conclusions, we see what actually played out before us during the scenes from a bygone era.
Mixed within all of this time traveling are some pretty lofty ideas involving unsolved mathematic theorems, thermodynamics, history, literature, god and the universe, carnal embrace, and many other things. I can't say that after only one viewing that I understand it all. I can say that I did enjoy it tremendously.
This production is as near to perfect as a play can get. The actors each perform their roles dutifully, and with gusto. most notably Tom Reilly as Septimus Hodge, Bel Powley as Thomasina Coverly, Raul Esparza as Valentine Coverly, and Lia Williams as Hanna Jarvis.
Set design and Costume design are simple and effective. The lighting is very smart, but the sound could stand to be a bit better. Sitting up in the Mezzanine I did find myself straining to hear some of the dialogue, which in this play one misheard word can mean everything.
In my opinion this is a strong contender for Best Revival of a play, Best Direction of a play, and quite possibly a few performance nods as well. The costumes may also get a nod, but I think the set may end up being forgotten in favor of more ostentatious designs.
The play itself is incredible.It is both artistic and scientific. It will leave those who see it with just as many theories to discuss as the characters they've just seen. Stoppard gives you all the answers to these questions, he just doesn't come right out and say it. You've got to do a little digging for yourself.
Without revealing too many of the details, the modern characters are attempting to solve a "mystery" of what happened concerning a duel, a hermit, and Lord Byron, yes that Lord Byron. While these characters draw their erroneous conclusions, we see what actually played out before us during the scenes from a bygone era.
Mixed within all of this time traveling are some pretty lofty ideas involving unsolved mathematic theorems, thermodynamics, history, literature, god and the universe, carnal embrace, and many other things. I can't say that after only one viewing that I understand it all. I can say that I did enjoy it tremendously.
This production is as near to perfect as a play can get. The actors each perform their roles dutifully, and with gusto. most notably Tom Reilly as Septimus Hodge, Bel Powley as Thomasina Coverly, Raul Esparza as Valentine Coverly, and Lia Williams as Hanna Jarvis.
Set design and Costume design are simple and effective. The lighting is very smart, but the sound could stand to be a bit better. Sitting up in the Mezzanine I did find myself straining to hear some of the dialogue, which in this play one misheard word can mean everything.
In my opinion this is a strong contender for Best Revival of a play, Best Direction of a play, and quite possibly a few performance nods as well. The costumes may also get a nod, but I think the set may end up being forgotten in favor of more ostentatious designs.
The play itself is incredible.It is both artistic and scientific. It will leave those who see it with just as many theories to discuss as the characters they've just seen. Stoppard gives you all the answers to these questions, he just doesn't come right out and say it. You've got to do a little digging for yourself.
Friday, March 18, 2011
Encores! Where's Charley?
Thank God that City Centers Encores! series exists. Without it certain musicals from theater history would probably never see the light of day again. One such musical, Frank Loesser and George Abbotts Where's Charley?, is on display this weekend.
Playing a highly respectable 792 performances at The St. James Theater during it's original Broadway run in 1948, Where's Charley? concerns two college friends and their madcap courtship of two young ladies. There is mistaken identity, a man in drag, and an audience sing a long. The score is very good for being Mr. Loessers first Broadway outing. It contains many wonderful melodies and some clever lyrics. The book by George Abbott is old fashioned and out dated, but almost goes without saying.
This particular production, however, is not quite as good as it could be. There are several problems that begin with the set design. Set design for a concert production shouldn't really be all that important, but the set design for this adaptation inhibits the staging. Due to this inhibition, the staging is at times manic, and makes the action unclear. The costumes are also uncomplimentary.
Casting is also a problem. Rebecca Luker and Howard McGillin give excellent performances as the "grown ups" of the piece. The two young women however, are extremely bland. They both have lovely voices, and are adequate dancers, but bring no personality to their characters. The young men fare a bit better, but neither is extremely well developed on the page, and neither actor is going above and beyond to deliver anything extra.
The star of this production of Where's Charley is the Choreography. Each dance number is superbly choreographed by Alex Sanchez. The ballet that comes at the end of Act I, and marching band number at the top of the same act are some of the most entertaining and intelligent choreography that I've seen.
While it is a blessing that this small gem of a score is being heard again, it's a shame that it's in such a lack luster production.
Playing a highly respectable 792 performances at The St. James Theater during it's original Broadway run in 1948, Where's Charley? concerns two college friends and their madcap courtship of two young ladies. There is mistaken identity, a man in drag, and an audience sing a long. The score is very good for being Mr. Loessers first Broadway outing. It contains many wonderful melodies and some clever lyrics. The book by George Abbott is old fashioned and out dated, but almost goes without saying.
This particular production, however, is not quite as good as it could be. There are several problems that begin with the set design. Set design for a concert production shouldn't really be all that important, but the set design for this adaptation inhibits the staging. Due to this inhibition, the staging is at times manic, and makes the action unclear. The costumes are also uncomplimentary.
Casting is also a problem. Rebecca Luker and Howard McGillin give excellent performances as the "grown ups" of the piece. The two young women however, are extremely bland. They both have lovely voices, and are adequate dancers, but bring no personality to their characters. The young men fare a bit better, but neither is extremely well developed on the page, and neither actor is going above and beyond to deliver anything extra.
The star of this production of Where's Charley is the Choreography. Each dance number is superbly choreographed by Alex Sanchez. The ballet that comes at the end of Act I, and marching band number at the top of the same act are some of the most entertaining and intelligent choreography that I've seen.
While it is a blessing that this small gem of a score is being heard again, it's a shame that it's in such a lack luster production.
Saturday, March 12, 2011
La Cage Auxgain
We all know that I see a lot of Broadway shows. There are occasionally shows that I see that I say, I'd see that again, but I very rarely ever do. Tonight was one such occasion. It's also very rare when a writer takes the stage in his own work, which also occurred this evening over at The Longacre Theater where Harvey Fierstein is currently playing Albin in La Cage Aux Folles for which he also wrote the book, albeit in 1984.
The production is still dazzling. The intimacy of the production brings the characters up close and personal. It makes the story so much more real and visceral. That's not to say that this La Cage is without glitz and glamour. There are sequins a plenty!
In the role of Albin Harvey Fierstein in campy, funny, and all the things that you would expect him to be. He is also surprisingly genuine, refreshingly subtle, and dramatic in a way that you would not expect him to be. When we think of Harvey Fierstein nowadays, most of us think of Edna Turnblad. We forget that this is also the same Harvey Fierstein who has done Fiddler and Torch Song Trilogy.
Playing the role of Georges, recently and suddenly vacated by Geoffrey Tambor, it is evident from the very start that Christopher Sieber is too young for the role. His is so good, however, that you just don't care. His voice is lovely, as it always is, and he plays Georges with a suavity and confidence that is both funny and sexy. This was Mr. Siebers third performance in the role, and I'm sure that from here he will only get better.
Wilson Germaine Heredia, returning to Broadway for the first time since his Tony award winning turn as Angel in Rent, is passable as Jacob. His characterization is quite good actually, it's his dancing that leaves much to be desired. In Rent he was able to Groove, in La Cage he is required to execute footwork that he does not possess.
The rest of the cast is wonderful, most of all those wonderful and dangerous Cagelles (for whom the management can not be held responsible). These men do things that will make your jaw drop. They all posses a perfect blend of being pretty, and also masculine.
What makes La Cage the kind of show that you can see again is the music, and the heart that pumps the blood through that music. Jerry Herman's score is timeless, catchy, and toe tapping. I would challenge anyone to leave that theater not humming the score.
So, will there be a La Cage Aux Trois? You can count on it!
The production is still dazzling. The intimacy of the production brings the characters up close and personal. It makes the story so much more real and visceral. That's not to say that this La Cage is without glitz and glamour. There are sequins a plenty!
In the role of Albin Harvey Fierstein in campy, funny, and all the things that you would expect him to be. He is also surprisingly genuine, refreshingly subtle, and dramatic in a way that you would not expect him to be. When we think of Harvey Fierstein nowadays, most of us think of Edna Turnblad. We forget that this is also the same Harvey Fierstein who has done Fiddler and Torch Song Trilogy.
Playing the role of Georges, recently and suddenly vacated by Geoffrey Tambor, it is evident from the very start that Christopher Sieber is too young for the role. His is so good, however, that you just don't care. His voice is lovely, as it always is, and he plays Georges with a suavity and confidence that is both funny and sexy. This was Mr. Siebers third performance in the role, and I'm sure that from here he will only get better.
Wilson Germaine Heredia, returning to Broadway for the first time since his Tony award winning turn as Angel in Rent, is passable as Jacob. His characterization is quite good actually, it's his dancing that leaves much to be desired. In Rent he was able to Groove, in La Cage he is required to execute footwork that he does not possess.
The rest of the cast is wonderful, most of all those wonderful and dangerous Cagelles (for whom the management can not be held responsible). These men do things that will make your jaw drop. They all posses a perfect blend of being pretty, and also masculine.
What makes La Cage the kind of show that you can see again is the music, and the heart that pumps the blood through that music. Jerry Herman's score is timeless, catchy, and toe tapping. I would challenge anyone to leave that theater not humming the score.
So, will there be a La Cage Aux Trois? You can count on it!
Saturday, March 5, 2011
Good People
Some people say our lives are defined by the choices we make. Others say that some people have all the luck. How many of us have said "If I could only catch a break"? These questions and more are deliberated onstage nightly at The Samuel Friedman Theater in Manhattan Theater clubs production of David Lindsay-Abaires new play Good People.
The play concerns a working class mother (played by Academy Award winner Frances McDormand) from Boston's Southie neighborhood who falls on hard times and looks up an old flame as a means to climbing her way out them. This old flame has gotten himself out of the old neighborhood and is now a Dr. with a successful practice and a large house in one of Bostons finest neighborhoods.
The entire cast is superb. Frances McDormand is sure to get a Tony Nomination for her performance, and deservedly so. She fills the character of Margaret with a complexity and ferocity that makes you laugh one moment, and leaves you silently awestruck the next. Tate Donovan is also very good in the role of Mikey.
The women of the supporting cast are superb. Being from the area, I can say that their portrayals of hardened New England women were precisely on point. Oscar winner and Tony nominee Estelle Parson's is particularly hilarious and biting in the role of Dottie. She is also a heavy contented for another Tony nomination.
The play it self is a bit disjointed. Getting from one scene to the next can seem a bit jarring. The beginnings and the ends of each scene don't seem to quite mesh well. Once each scene gets going though you forget all about the awkward stare. The play is expertly directed by Daniel Sullivan and the end is so good that you can't help but leaving satisfied.
The play concerns a working class mother (played by Academy Award winner Frances McDormand) from Boston's Southie neighborhood who falls on hard times and looks up an old flame as a means to climbing her way out them. This old flame has gotten himself out of the old neighborhood and is now a Dr. with a successful practice and a large house in one of Bostons finest neighborhoods.
The entire cast is superb. Frances McDormand is sure to get a Tony Nomination for her performance, and deservedly so. She fills the character of Margaret with a complexity and ferocity that makes you laugh one moment, and leaves you silently awestruck the next. Tate Donovan is also very good in the role of Mikey.
The women of the supporting cast are superb. Being from the area, I can say that their portrayals of hardened New England women were precisely on point. Oscar winner and Tony nominee Estelle Parson's is particularly hilarious and biting in the role of Dottie. She is also a heavy contented for another Tony nomination.
The play it self is a bit disjointed. Getting from one scene to the next can seem a bit jarring. The beginnings and the ends of each scene don't seem to quite mesh well. Once each scene gets going though you forget all about the awkward stare. The play is expertly directed by Daniel Sullivan and the end is so good that you can't help but leaving satisfied.
Friday, March 4, 2011
The Importance of Being Earnest
The saying goes that the classics endure. While the text of classic plays may indeed endure, some times the execution of these classic texts leave much to be desired. I'm happy to report that such is not the case over at The American Air Lines theater at The Roundabout Theater company's exquisite revival of Oscar Wilde's The Importance of Being Earnest.
Oscar Wilde is a master of the English Language. The text of his play is both witty and sincere. There is nothing to fix in this hilarious play. Even in our modern age, the comic genius is apparent. This is partly due to the impeccable comic timing of the plays stars.
As both director and star Brian Bedford is giving a Tony worthy performance as Lady Bracknell. This is a role most British Women yearn to play in their golden years. Brian Bedford is giving a perfect performance. You don't for an instant see a man in drag, you are completely taken with Lady Bracknell from the start. His comic timing and his mannerisms make the audience double over with laughter whenever she is on stage.
The rest of the cast is equally wonderful particularly Dana Ivey as Miss Prism and Santino Fontana as Algernon Moncreif. Dana Ivey portrays Miss Prism with a perfect mix of Propriety and womanly desire for the Rev. Dr. Chausiable. Santino Fontana is genuine in his portrayal of Algernon which provides a true comedic performance.
The set and costume design are absolutely gorgeous. Each scene is reminiscent of the previous, and the costumes are both informative of the time period, and each characters personality. Lady Bracknell is clothes in ostentatious and immaculate gowns, while her daughter is clothed in more contemporary Victorian Styles. All garments are exquisitely designed.
If you are in the market to see a classic play done exactly the way it should be, get yourself down to The American Airlines Theater and see The Importance of Being Earnest!
Oscar Wilde is a master of the English Language. The text of his play is both witty and sincere. There is nothing to fix in this hilarious play. Even in our modern age, the comic genius is apparent. This is partly due to the impeccable comic timing of the plays stars.
As both director and star Brian Bedford is giving a Tony worthy performance as Lady Bracknell. This is a role most British Women yearn to play in their golden years. Brian Bedford is giving a perfect performance. You don't for an instant see a man in drag, you are completely taken with Lady Bracknell from the start. His comic timing and his mannerisms make the audience double over with laughter whenever she is on stage.
The rest of the cast is equally wonderful particularly Dana Ivey as Miss Prism and Santino Fontana as Algernon Moncreif. Dana Ivey portrays Miss Prism with a perfect mix of Propriety and womanly desire for the Rev. Dr. Chausiable. Santino Fontana is genuine in his portrayal of Algernon which provides a true comedic performance.
The set and costume design are absolutely gorgeous. Each scene is reminiscent of the previous, and the costumes are both informative of the time period, and each characters personality. Lady Bracknell is clothes in ostentatious and immaculate gowns, while her daughter is clothed in more contemporary Victorian Styles. All garments are exquisitely designed.
If you are in the market to see a classic play done exactly the way it should be, get yourself down to The American Airlines Theater and see The Importance of Being Earnest!
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