I am not what one would call a sports fan. Let's face it, I am about as far removed from being a sports fan as Sarah Palin is from joining PETA. When it was announced last spring that the NFL would be producing a play on Broadway about late Green Bay Packers Coach Vince Lombardi, I was less than enthused.
Last evening I took in the play, after much putting off. I am glad to say that I thoroughly enjoyed myself. Rather than being a play about football, or the ins and outs of football, or a particular team, Lombardi! attempts to reveal the man behind the coach. This is achieved by creating a fictional character of a reporter who is sent from New York City by "Look" magazine to do a story about Vince Lombardi.
This device is not always effective. There are some very well written and compelling scenes in the play. Where things slow down is when the reporter delivers one of his "between the scenes" monologues. These monologues read like play by plays of what you missed during the commercial break. Rather than show you through scenes what happens, or trusting that you can get from point A to point B, the author has filled in the gaps with monologues that tell you what happened between scenes that he didn't think was important enough to show you acted out fully, but is important enough that you need to be told that it happened. Other than this minor annoyance, it's a wonderful play.
Dan Lauria is utterly convincing as coach Lombardi. He gives the myth a truly human form. His performance is not to be missed. The highlight of the evening, however, is Judith Light as Marie Lombardi. Her performance is astounding. She is a delight from beginning to end. Her comic timing and delivery is unparalleled. Not only does she elicit laughs, she gives the woman depth, and allows us to see through the slightest body language how much she loves her husband, and how much she had to put up with because of that love.
The rest of the cast turn in very good performance as well. It's a very short play, a bit over 90 minutes long. It's definitely one of the better new plays that I've seen on Broadway this season. Judith Light is certain to be nominated for a Tony award and has a very strong chance of winning. Dan Lauria deserves to be nominated, but may be passed over for more high profile performances. Tickets are currently on sale through June 19th, don't miss it!
Saturday, April 30, 2011
Friday, April 29, 2011
Baby, It's You!
Baby, it's you! Is a musical that purports to tell the story of Florence Greenberg, the woman who discovered the Shirelles and pioneered scepter records paving the way for women in the music business. This is not the case. It is a musical that uses the story of Florence Greenberg to showcase Motown hits from the late 50's and early 60's.
The music is wonderful. There are all the hits of The Shirelles you would expect (except for Will you still love me tomorrow for which the producers could not secure rights), unfortunately they are not surrounded by a book that flows naturally, or tells a compelling story.
Ms. Greenbergs story IS compelling, and the show is at times maddening in the way that it completely glosses over important moments in her life and career, and turns supporting characters such as her husband Bernie, and her blind son (who wrote the song Dedicated to the one I love), into cartoonish caricatures. See if her husband doesn't remind you of Snidely Whiplash.
The show is two and a half hours long. The first act is better than the second, and neither act ends with satisfaction. The first act ends extremely awkwardly, with Ms. Greenberg turning to the audience as if to sing, but instead the curtain falls. The second act is nearly unbearable. The book takes a vacation for nearly 25 minutes while song after song plays without rhyme or reason.
The cast is exceptionally talented. The girls who play The Shirelles all do each song justice. There is no question that the show is resting on the very talented shoulders of Beth Leavel, who elevates the more than lack luster material to a place of mediocrity. This is the only reason, if there ever was one, to see Baby, It's you!.
Florence Greenberg and the story of her journey from Suburban New Jersey housewife to music industry Mogul is definitely worthy of a Broadway musical. I hope someday somebody writes one.
The music is wonderful. There are all the hits of The Shirelles you would expect (except for Will you still love me tomorrow for which the producers could not secure rights), unfortunately they are not surrounded by a book that flows naturally, or tells a compelling story.
Ms. Greenbergs story IS compelling, and the show is at times maddening in the way that it completely glosses over important moments in her life and career, and turns supporting characters such as her husband Bernie, and her blind son (who wrote the song Dedicated to the one I love), into cartoonish caricatures. See if her husband doesn't remind you of Snidely Whiplash.
The show is two and a half hours long. The first act is better than the second, and neither act ends with satisfaction. The first act ends extremely awkwardly, with Ms. Greenberg turning to the audience as if to sing, but instead the curtain falls. The second act is nearly unbearable. The book takes a vacation for nearly 25 minutes while song after song plays without rhyme or reason.
The cast is exceptionally talented. The girls who play The Shirelles all do each song justice. There is no question that the show is resting on the very talented shoulders of Beth Leavel, who elevates the more than lack luster material to a place of mediocrity. This is the only reason, if there ever was one, to see Baby, It's you!.
Florence Greenberg and the story of her journey from Suburban New Jersey housewife to music industry Mogul is definitely worthy of a Broadway musical. I hope someday somebody writes one.
Monday, April 25, 2011
High
The last show I saw this past week, and subsequently the best (though that's like whether you'd rather drink water from the toilette or eat out of the garbage) was High. This play by Matthew Lombardo starred Kathleen Turner as a nun who helps Catholics fight addiction. When she is brought the case of a 19 year old boy who is the heaviest drug user the religious rehab center has ever had, it rocks both of their worlds. Sounds good no? Well, it was alright.
It starts out quite strong actually. Kathleen Turner exudes charm, wit, and gravitas as Sister Jamie, and her opening monologue is great, though not because it is well written. It's wonderful because SHE is wonderful and is elevating the material to a higher place, (nice pun, eh?). The writing throughout the first act is uneven. There are moments that are quite exciting, but the play over all follows the formula of every drug rehab story out there. The kid does drugs cuz he had a nasty child hood. The nun is able to help him because she too is an addict, and therefore they have a connection that will allow them to help each other.
There are very few surprises through the play. Most everything is predictable before it gets revealed. The second act is nearly unbearable. It all becomes too much. The kids tragic story becomes ridiculously tragic, and Sister Jamie's reasons for becoming an Alcoholic, being homeless, and then becoming a nun are also ridiculously tragic, too much so. The act I nude scene was one of the best moments of the show, but only because the kid has an expectedly huge penis. (huge!)
Kathleen Turner comes out on top however. She gives a Tony worthy performance as Sister Jamie. She luxuriates every word she has been given to say. Her portrayal is genuine and honest, and also very, very funny. Her deep, sultry voice only adds to the voracity of the character. One of my favorite lines from the show is when the boy says "Shouldn't I be speaking to another dude" and Sister Jamie Replies "That is usually the case, so that patients do not act on any feelings they might develop for their sponsors, however, seeing as you are an active homosexual and I am a nun, I don't see us fucking anytime soon". Yes, Sister Jamie has a cursing problem. When she got sober her sponsor agreed that it was better to "fight the addiction that was killing her, rather than the one that was impolite parlor conversation".
This play probably could have benefited from another set of eyes. The second act is really where all the trouble lies. There is just too much going on and the ending is highly unsatisfying. Also the boy playing the drug addict is giving a very one dimensional performance. It's all moot because it closed after only 8 performances. Was it really that bad to have only played a week? No, it deserved to run longer, however, it's playing in a season filled with plays that are exceptional, both new and revived. Good People, Arcadia, The Importance of Being Earnest, to name a few. High just didn't pass the bar.
It starts out quite strong actually. Kathleen Turner exudes charm, wit, and gravitas as Sister Jamie, and her opening monologue is great, though not because it is well written. It's wonderful because SHE is wonderful and is elevating the material to a higher place, (nice pun, eh?). The writing throughout the first act is uneven. There are moments that are quite exciting, but the play over all follows the formula of every drug rehab story out there. The kid does drugs cuz he had a nasty child hood. The nun is able to help him because she too is an addict, and therefore they have a connection that will allow them to help each other.
There are very few surprises through the play. Most everything is predictable before it gets revealed. The second act is nearly unbearable. It all becomes too much. The kids tragic story becomes ridiculously tragic, and Sister Jamie's reasons for becoming an Alcoholic, being homeless, and then becoming a nun are also ridiculously tragic, too much so. The act I nude scene was one of the best moments of the show, but only because the kid has an expectedly huge penis. (huge!)
Kathleen Turner comes out on top however. She gives a Tony worthy performance as Sister Jamie. She luxuriates every word she has been given to say. Her portrayal is genuine and honest, and also very, very funny. Her deep, sultry voice only adds to the voracity of the character. One of my favorite lines from the show is when the boy says "Shouldn't I be speaking to another dude" and Sister Jamie Replies "That is usually the case, so that patients do not act on any feelings they might develop for their sponsors, however, seeing as you are an active homosexual and I am a nun, I don't see us fucking anytime soon". Yes, Sister Jamie has a cursing problem. When she got sober her sponsor agreed that it was better to "fight the addiction that was killing her, rather than the one that was impolite parlor conversation".
This play probably could have benefited from another set of eyes. The second act is really where all the trouble lies. There is just too much going on and the ending is highly unsatisfying. Also the boy playing the drug addict is giving a very one dimensional performance. It's all moot because it closed after only 8 performances. Was it really that bad to have only played a week? No, it deserved to run longer, however, it's playing in a season filled with plays that are exceptional, both new and revived. Good People, Arcadia, The Importance of Being Earnest, to name a few. High just didn't pass the bar.
Sunday, April 24, 2011
Cactus Flower
Yes, Dear Readers, I know. It has been more than two weeks since my last offering. I've been a slacker since April 7th, but I made up for it this week by seeing three shows! I'm not going to write about them in chronological order, however, because two of them have closed already, and one is still in previews.
The first production that I am going to discuss, which consequently was the second production I took in this holy week, is the off Broadway revival of Abe Burrows hit comedy Cactus Flower. This was recently modernized and made into a film called "Just Go with it" with Adam Sandler and Jennifer Anniston.
Plot wise it's pretty simple. A man pretends to be married so he doesn't have to get married. He meets a girl he wants to marry, which complicates things because he's married already, or so she thinks, comedy ensues. Or at least it's supposed to.
Don't get me wrong. The play itself is very funny. There are some fantastic bits of dialogue. The problem with the current production is that aside from it's leading lady, (Jenni Barber) the show is completely without a soul. It takes place in the rollicking free love sixties, but much of the humor is out dated. This is fine, except that the cast doesn't handle it well. You can almost see them grimace every time an old style "yuck yuck" joke is played.
The only one who comes out on top is the previously mentioned Jenni Barber who completely and unabashedly commits to her role as naive, charming, and sweet Toni. Maxwell Caulfield is fine as the married but not really dentist Julian, and is devilishly handsome, but has no chemistry with either of his leading ladies.
Over all the entire production seems completely staged and forced. The set design and the music that plays during the set changes were quite enjoyable. I completely understand why this show is closing. The supporting cast is fine, but nothing special. I don't even remember their real names, or their characters names, which shows what an impression they made.
It's easy to see why this play was a hit for so long in it's original run, and why the film version earned Goldie Hawn an Academy Award, however, this particular Cactus Flower fails to blossom.
The first production that I am going to discuss, which consequently was the second production I took in this holy week, is the off Broadway revival of Abe Burrows hit comedy Cactus Flower. This was recently modernized and made into a film called "Just Go with it" with Adam Sandler and Jennifer Anniston.
Plot wise it's pretty simple. A man pretends to be married so he doesn't have to get married. He meets a girl he wants to marry, which complicates things because he's married already, or so she thinks, comedy ensues. Or at least it's supposed to.
Don't get me wrong. The play itself is very funny. There are some fantastic bits of dialogue. The problem with the current production is that aside from it's leading lady, (Jenni Barber) the show is completely without a soul. It takes place in the rollicking free love sixties, but much of the humor is out dated. This is fine, except that the cast doesn't handle it well. You can almost see them grimace every time an old style "yuck yuck" joke is played.
The only one who comes out on top is the previously mentioned Jenni Barber who completely and unabashedly commits to her role as naive, charming, and sweet Toni. Maxwell Caulfield is fine as the married but not really dentist Julian, and is devilishly handsome, but has no chemistry with either of his leading ladies.
Over all the entire production seems completely staged and forced. The set design and the music that plays during the set changes were quite enjoyable. I completely understand why this show is closing. The supporting cast is fine, but nothing special. I don't even remember their real names, or their characters names, which shows what an impression they made.
It's easy to see why this play was a hit for so long in it's original run, and why the film version earned Goldie Hawn an Academy Award, however, this particular Cactus Flower fails to blossom.
Thursday, April 7, 2011
The New York Philharmonic's COMPANY
There are very few things that succeed at being about nothing, and simultaneously being about everything. Stephen Sondheim's groundbreaking musical Company is one of those things. The original Broadway production ran for over 700 performances on Broadway at The Alvin Theater (now The Neil Simon). It at once fascinated and confused audiences with it's non linear story telling and seemingly contradictory themes.
The New York Phil is currently offering Company as a four performance concert one of which has already passed, so I suggest you hurry to getting your tickets, if there are even any available. This concert was absolutely superb. From start to finish, I was beaming inside and out.
For starters, it is being done as a period piece, which makes for a wonderful sight. The costumes and both set reflect the period (1970's), and inform the action of the piece. Lonny Price has expertly directed this concert adaptation. The choreography by Josh Rodes is absolutely stellar.
The cast are all quite adept at handling their roles, especially with what I'm sure has been very little rehearsal time. Neil Patrick Harris is a very aloof Bobby. It works well for him and I very much liked him in the role. His singing voice isn't quite as powerful as Bobby's past, which is a theme for the evening.
Vocally speaking most everyone was up to handling the score. Stephen Colbert and John Cryer are not among those many, though they were perfectly passable. Their acting more than made up for the speak singing of sorry grateful.
The females however, lead the charge. Patti Lupone was unstoppable as Joanne, (her Ladies who lunch was to die for). Anika Noni Rose drew great (and worthy) applause for Another Hundred People, and Katie Finneran was both human, and hysterical as Amy. Martha Plimpton and Kristina Hendricks were also superb in their roles. Martha Plimpton and Stephen Colbert have a particularly amusing dance break in the act two opener.
There is talk of this concert being taped for PBS or possible release in movie theaters. I hope for the sake of Posterity, and for all those out there who are not able to experience this that it is. It was truly fantastic.
The New York Phil is currently offering Company as a four performance concert one of which has already passed, so I suggest you hurry to getting your tickets, if there are even any available. This concert was absolutely superb. From start to finish, I was beaming inside and out.
For starters, it is being done as a period piece, which makes for a wonderful sight. The costumes and both set reflect the period (1970's), and inform the action of the piece. Lonny Price has expertly directed this concert adaptation. The choreography by Josh Rodes is absolutely stellar.
The cast are all quite adept at handling their roles, especially with what I'm sure has been very little rehearsal time. Neil Patrick Harris is a very aloof Bobby. It works well for him and I very much liked him in the role. His singing voice isn't quite as powerful as Bobby's past, which is a theme for the evening.
Vocally speaking most everyone was up to handling the score. Stephen Colbert and John Cryer are not among those many, though they were perfectly passable. Their acting more than made up for the speak singing of sorry grateful.
The females however, lead the charge. Patti Lupone was unstoppable as Joanne, (her Ladies who lunch was to die for). Anika Noni Rose drew great (and worthy) applause for Another Hundred People, and Katie Finneran was both human, and hysterical as Amy. Martha Plimpton and Kristina Hendricks were also superb in their roles. Martha Plimpton and Stephen Colbert have a particularly amusing dance break in the act two opener.
There is talk of this concert being taped for PBS or possible release in movie theaters. I hope for the sake of Posterity, and for all those out there who are not able to experience this that it is. It was truly fantastic.
Saturday, April 2, 2011
That Championship Season
I usually write very formal reviews of shows. This is not going to be one of those reviews. Let me start off by saying that in 1974 when That Championship Season was originally produced, it was probably very enjoyable. That is unfortunately no longer the case.
Let's start with the play itself. It's about 5 men who meet every year to celebrate a high school basketball championship they won when they were in high school. They see each other all the time in their every day lives, but for one night a year they meet and relive the glory days. On this particular reunion drama along with a slight bit of comedy ensues.
The play is about the demise of society. It's about the dissension of the country, of politics, of moral standards. These characters are offhandedly racist, anti Semitic, and homophobic. There's even a line about somebody being a communist, and how great Joe McCarthy was. The author, and the play, are not these things. It's mostly a big eff you to middle America. All of the references are dated, and I can't understand why anybody thought to revive this.
As far as Performances go, they are mostly fine. Jason Patric (who is the authors son) starts off fine, but ends up sounding like William Shatner. Brian Cox over acts as the coach but is nonetheless mesmerizing. Chris Noth and Jim Gaffigan are fine. Keifer Sutherland is impeccable as James. He is understated in a way you don't expect.
Over all it's fine. It's nothing special. There are some good moments in the script, but it's mostly a history lesson nobody needs to learn.
Let's start with the play itself. It's about 5 men who meet every year to celebrate a high school basketball championship they won when they were in high school. They see each other all the time in their every day lives, but for one night a year they meet and relive the glory days. On this particular reunion drama along with a slight bit of comedy ensues.
The play is about the demise of society. It's about the dissension of the country, of politics, of moral standards. These characters are offhandedly racist, anti Semitic, and homophobic. There's even a line about somebody being a communist, and how great Joe McCarthy was. The author, and the play, are not these things. It's mostly a big eff you to middle America. All of the references are dated, and I can't understand why anybody thought to revive this.
As far as Performances go, they are mostly fine. Jason Patric (who is the authors son) starts off fine, but ends up sounding like William Shatner. Brian Cox over acts as the coach but is nonetheless mesmerizing. Chris Noth and Jim Gaffigan are fine. Keifer Sutherland is impeccable as James. He is understated in a way you don't expect.
Over all it's fine. It's nothing special. There are some good moments in the script, but it's mostly a history lesson nobody needs to learn.
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