How to apply for a job? How to advance from the mail room? How to look cute in a three button suit? These important questions and more are being pondered and answered over at The Al Hershfield theater where Daniel Radcliffe and John Larauquette are starring in a revival of Frank Loessers perennial classic 60's musical.
This show has been around for decades, but if you are not familiar, it concerns a young up and comer J. Pierpont Finch, (thats F-I-N-C-H Finch) and his meteoric if problematic rise to the top of the World Wide Wicket Company. Along the way comedy, music, and sex ensue, and a good time is had by all.
The score to How to succeed is filled with golden eggs. Right from the opening notes of the overture your smile starts beaming because you know that you're in for a grand old time at the theater. Rob Ashford has smartly directed the piece, though he has definitely over choreographed it. Most of the funny comic numbers have been turned into dance numbers. Most of it works, and the show Succeeds, over all.
Daniel Radcliffe is absolutely charming as Finch. His singing voice is nothing to swoon over, but he adequately sings the score. His comic timing is decent though admittedly not perfect. In the end, he is so damn adorable you can't help but root for him. Rose Hemingway sings beautifully as Rosemary, however, her characterization is misdirected in my opinion.
John Larauquette as J.P. Bigley is ridiculously funny. His performance is genuine and realistic, which is what drives the comedy. Also, he is not afraid to be a clown. Tammy Blanchard is giving an laugh out loud performance as Hedy Larue. She isn't a singer, but it doesn't matter for this role. All the other main actors were out the night I saw this, and I did not enjoy any of the understudies performances so I'm not going to comment on them.
Overall it's a fantastic production, and if you're in town and have are looking for something everyone in your party will enjoy, bring them to How to Succeed. Everyone will thoroughly enjoy themselves!
Friday, September 30, 2011
Thursday, September 8, 2011
Anything Goes
The S.S. American has set sail on Broadway once more with Captain Sutton Foster in the role of Reno Sweeney and despite what you're told at It's a Small World, this is the happiest cruise that ever sailed. What makes it the happiest cruise begins with those toe tapping songs by Cole Porter. These are some of the most tuneful catchy songs that were ever created for the Broadway stage. The lyrics are so clever and witty and the melodies just soar.
As Reno Sweeney Sutton Foster is a complete revelation. There is a reason that she won a Tony Award for her performance. Her Reno is much different than say, Patti LuPone or Ethel Merman, but it's a whole and complete character. From the way she walks and talks to the way she sings, Sutton Foster is all Reno.
The supporting cast is quite wonderful as well. Colin Donnel as Billy Crocker is handsome, playful, and funny. His voice suits the character well and his renditions of Delovely and Easy to love will make you melt. Adam Godley turns in a surprisingly hysterical performance as Lord Evelyn Oakley. As hope Harcourt Laura Osnes is everything you would want in a leading soprano without being the slightest bit bland or boring, Kelly Bishop (Tony winning Sheila from A Chorus Line) is extremely funny as Evangeline and her scenes with John McMartin as Elisha Whitney are comedic gold. Jessica Stone is highly effective as lovable vamp Erma and her Buddy Beware in act I is sexy and funny.
That brings us to Joel Grey as Moonface Martin. I'm not going to say that what he does in the role doesn't work for the character because it does. It's a completely valid portrayal of the character, I just didn't care for it. Joel Grey is an undeniably talented individual and a legend of Broadway theater. In addition to dropping a few lines (I'm sure hardly anyone noticed, it wasn't as bad as Elaine Stritch), It's very hard to believe that this diminutive soft spoken elderly man is public enemy number anything.
Sutton Foster is undeniably the star of the show, her co-star, is Kathleen Marshall's Tony winning Choreography. It is absolutely jaw dropping. The title song, which closes Act I, is even better on stage that it appears on TV. Reno's Act II number Blow, Gabriel Blow, is always a crowd pleaser, but in this case it is a genuine show stopper (2 full minutes of applause the performance I saw, which in a theater is a long time). The big group numbers are exquisitely choreographed, but it's the small character driven numbers where Ms. Marshall's artistry truly shines. She is able to create character specific choreography that is appropriate for both the moment, and also the style of song and the period in which it's written. Billy and Hope perform a lovely sort of fox trot during Delovely, while Lord Evelyn and Sweeney Tango during Gypsy in Me.
Overall this revival of Anything Goes is a wonderful diamond in a sea of Broadway rhinestones. It is fun, care free, and will make you smile from the moment the overture starts until you set your head against the pillow that evening. Tickets are currently on sale through January 8th of 2012. If you get to the box office by 9:30 am on the day of the performance you want to see you can get a rush seat for $30 max two per person. It's worth the effort, and the money!
As Reno Sweeney Sutton Foster is a complete revelation. There is a reason that she won a Tony Award for her performance. Her Reno is much different than say, Patti LuPone or Ethel Merman, but it's a whole and complete character. From the way she walks and talks to the way she sings, Sutton Foster is all Reno.
The supporting cast is quite wonderful as well. Colin Donnel as Billy Crocker is handsome, playful, and funny. His voice suits the character well and his renditions of Delovely and Easy to love will make you melt. Adam Godley turns in a surprisingly hysterical performance as Lord Evelyn Oakley. As hope Harcourt Laura Osnes is everything you would want in a leading soprano without being the slightest bit bland or boring, Kelly Bishop (Tony winning Sheila from A Chorus Line) is extremely funny as Evangeline and her scenes with John McMartin as Elisha Whitney are comedic gold. Jessica Stone is highly effective as lovable vamp Erma and her Buddy Beware in act I is sexy and funny.
That brings us to Joel Grey as Moonface Martin. I'm not going to say that what he does in the role doesn't work for the character because it does. It's a completely valid portrayal of the character, I just didn't care for it. Joel Grey is an undeniably talented individual and a legend of Broadway theater. In addition to dropping a few lines (I'm sure hardly anyone noticed, it wasn't as bad as Elaine Stritch), It's very hard to believe that this diminutive soft spoken elderly man is public enemy number anything.
Sutton Foster is undeniably the star of the show, her co-star, is Kathleen Marshall's Tony winning Choreography. It is absolutely jaw dropping. The title song, which closes Act I, is even better on stage that it appears on TV. Reno's Act II number Blow, Gabriel Blow, is always a crowd pleaser, but in this case it is a genuine show stopper (2 full minutes of applause the performance I saw, which in a theater is a long time). The big group numbers are exquisitely choreographed, but it's the small character driven numbers where Ms. Marshall's artistry truly shines. She is able to create character specific choreography that is appropriate for both the moment, and also the style of song and the period in which it's written. Billy and Hope perform a lovely sort of fox trot during Delovely, while Lord Evelyn and Sweeney Tango during Gypsy in Me.
Overall this revival of Anything Goes is a wonderful diamond in a sea of Broadway rhinestones. It is fun, care free, and will make you smile from the moment the overture starts until you set your head against the pillow that evening. Tickets are currently on sale through January 8th of 2012. If you get to the box office by 9:30 am on the day of the performance you want to see you can get a rush seat for $30 max two per person. It's worth the effort, and the money!
Saturday, September 3, 2011
Hair
It's the summer of love on Broadway! At least it has been since the beginning of July, and will continue to be until the 10th of September. The national touring company of the recent Broadway revival of Hair has let it's luscious locks down at The St. James theater.
This was the third time I saw this particular production, and each time with a different cast. Even after being nearly four years old, the production still holds up extremely well. Our country is still embroiled in two wars, albeit wars that are supposedly close to their end. Hair is a period piece that makes you think about the world as we know it today. It's not just a musical, it's a movement.
Diane Paulus's stunning direction and Carole Armitages magnetic choreography are woven together to create a beautiful tapestry of theatrical art. Equally ensconced in this tapestry are the wonderful costumes, set, and lighting design. And let's not forget all that long beautiful hair! There are a few wigs, but most of the cast is sporting their own shining, steaming, gleaming hair.
The staging that is being seen on Broadway now is not exactly the same as what was seen at The Hershfeld theater. It has been slightly altered for middle America. The act I finale in particular has been toned down just in the slightest bit. It's still the act I finale of Hair it's just not quite as in your face as it was in New York. There have also been a few changes to the book. A bit more of the original libretto that had been previously cut has be re-instated.
The Tribe that has taken over The St. James is absolutely a complete joy to watch. Steel Burkhart as Berger (though perhaps a little too old) and Paris Remilard bring their own spin to the two lead male roles. Paris Remilard in particular is able to inhabit both Claude's innate sense of pleasure and also his sense of morality. The juxtaposition is fantastic to watch. The women don't fare quite as well as the men, but I doubt that you would find much fault if any.
The Broadway stop over is almost ready to move along, so if you're in New York you have one more week. This production is still scheduled to make several more stops across the USA before packing it in altogether though, so look for it coming to a theater near you!
This was the third time I saw this particular production, and each time with a different cast. Even after being nearly four years old, the production still holds up extremely well. Our country is still embroiled in two wars, albeit wars that are supposedly close to their end. Hair is a period piece that makes you think about the world as we know it today. It's not just a musical, it's a movement.
Diane Paulus's stunning direction and Carole Armitages magnetic choreography are woven together to create a beautiful tapestry of theatrical art. Equally ensconced in this tapestry are the wonderful costumes, set, and lighting design. And let's not forget all that long beautiful hair! There are a few wigs, but most of the cast is sporting their own shining, steaming, gleaming hair.
The staging that is being seen on Broadway now is not exactly the same as what was seen at The Hershfeld theater. It has been slightly altered for middle America. The act I finale in particular has been toned down just in the slightest bit. It's still the act I finale of Hair it's just not quite as in your face as it was in New York. There have also been a few changes to the book. A bit more of the original libretto that had been previously cut has be re-instated.
The Tribe that has taken over The St. James is absolutely a complete joy to watch. Steel Burkhart as Berger (though perhaps a little too old) and Paris Remilard bring their own spin to the two lead male roles. Paris Remilard in particular is able to inhabit both Claude's innate sense of pleasure and also his sense of morality. The juxtaposition is fantastic to watch. The women don't fare quite as well as the men, but I doubt that you would find much fault if any.
The Broadway stop over is almost ready to move along, so if you're in New York you have one more week. This production is still scheduled to make several more stops across the USA before packing it in altogether though, so look for it coming to a theater near you!
Friday, September 2, 2011
Death Takes a Holiday
What would happen is death walked among us in human form? What would he be like? Would the rules of life and death still apply? All of these questions and more are answered in Maury Yestons delightful new musical being presented off-Broadway until Sunday, Sept. 4th.
Death Takes a Holiday is based on an Italian play Alberto Cosella that was subsequently rewritten for the American stage by Walter Ferris. I'm not sure if the adaptation we're seeing is based upon the original Italian or it's American counterpart, or perhaps bits of both.
The story concerns a well to do family living in northern Italy in 1927. Their son Roberto was killed during the war. Their daughter Grazia, we learn, has just been engaged. A near tragic car accident brings death into their midst and forever changes the course of their lives.
Death is a very sweet and lovely musical. It's one of the best musical theater scores to come around in quite a while. The melodies are at times buoyant and up beat, and at other times luscious and sweeping. The book is equally well crafted by Thomas Mehan and Peter Stone. It is sweet and sentimental and also witty and fresh.
The first act of Death Takes a Holiday is too long. It runs just over 90 minutes, which isn't really that long for a musical, however, it FEELS long, which means I lost interest. Part of this may have been because other than a few notable exceptions, most of the performances are extremely bland and uninteresting. Particularly Jill Paice in the lead female role of Grazia. Her singing voice is lovely, and if I were listening to the cast recording I may not find a single fault. In performance, however, she comes off as completely fake and unbelievable.
The exception to this rule of spice less acting is Kevin Earley who plays Death. Mr. Earley was the understudy when the show opened, and took over almost immediately after opening for an ailing and never to return Julian Ovendon. You would never know it from his performance. For someone who is playing Death Kevin Early is teeming with life and vivacity, which is entirely appropriate since it's the first time Death has experienced any of the sensations he is being faced with.
The second act of Death Takes a Holiday is much more enjoyable as a whole. The music is fantastic, the story moves along nicely, and comes to a rich and satisfying climax. There are a few places to tighten up the script, there seems to be an endless flip flopping on the part of Death towards the end that makes the final moments not as strong as they could be. Overall it's a wonderful new musical that very well may make it to Broadway someday, though hopefully with a new director and a few new cast members.
Death Takes a Holiday is based on an Italian play Alberto Cosella that was subsequently rewritten for the American stage by Walter Ferris. I'm not sure if the adaptation we're seeing is based upon the original Italian or it's American counterpart, or perhaps bits of both.
The story concerns a well to do family living in northern Italy in 1927. Their son Roberto was killed during the war. Their daughter Grazia, we learn, has just been engaged. A near tragic car accident brings death into their midst and forever changes the course of their lives.
Death is a very sweet and lovely musical. It's one of the best musical theater scores to come around in quite a while. The melodies are at times buoyant and up beat, and at other times luscious and sweeping. The book is equally well crafted by Thomas Mehan and Peter Stone. It is sweet and sentimental and also witty and fresh.
The first act of Death Takes a Holiday is too long. It runs just over 90 minutes, which isn't really that long for a musical, however, it FEELS long, which means I lost interest. Part of this may have been because other than a few notable exceptions, most of the performances are extremely bland and uninteresting. Particularly Jill Paice in the lead female role of Grazia. Her singing voice is lovely, and if I were listening to the cast recording I may not find a single fault. In performance, however, she comes off as completely fake and unbelievable.
The exception to this rule of spice less acting is Kevin Earley who plays Death. Mr. Earley was the understudy when the show opened, and took over almost immediately after opening for an ailing and never to return Julian Ovendon. You would never know it from his performance. For someone who is playing Death Kevin Early is teeming with life and vivacity, which is entirely appropriate since it's the first time Death has experienced any of the sensations he is being faced with.
The second act of Death Takes a Holiday is much more enjoyable as a whole. The music is fantastic, the story moves along nicely, and comes to a rich and satisfying climax. There are a few places to tighten up the script, there seems to be an endless flip flopping on the part of Death towards the end that makes the final moments not as strong as they could be. Overall it's a wonderful new musical that very well may make it to Broadway someday, though hopefully with a new director and a few new cast members.
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