Charlie Chaplin seems to be a figure whose life and career would be ripe for a musical. Previously seen out in California as Limelight, the new musical Chaplin has set itself down over at Broadways Barrymore Theater. This show, while problematic, succeeds overall.
Chaplin the musical has more than it's fair share of cliches. The central metaphor at work is the circus. The show opens with Charlie high atop the tight wire. With the other characters (whom we shall meet later) asking him "What ya gonna do when it all falls down?". This melody and this life is a circus metaphor are used quite often in the two and a half hour production.
We're first introduced to Chaplin the man as a child in the Lambeth section of London in the late 1800's. His mother is a singer and his father is a philanderer. It is from these humble roots that Chaplin the star was born, and in these humble London surroundings that he first started performing in stage productions as a comic.
The show progresses through Charlies start in Hollywood pictures, his many marriages, and his eventual fall from grace. It's a long story, and the authors have chosen to take us through his whole life in one evening. This can make certain moments feel rushed and jarring. For example, his last wife (whom he was with the longest, only gets perhaps 25 minutes of stage time even though they were married for 30 years). Also, no mention of is made of his co-founding United Artists studios, which is still in operation.
Rob McClure is wonderful as Chaplin. He imbues the character with many shades of grey. We see him as Charlie Chaplin the man, and Charlie Chaplin the little tramp, as well as the womanizer, the director, the perfectionist, and the egotist. Whenever Rob McClure is center stage the play is at it's best. Due to the rushed nature of the book many of the other characters get glossed over and lost in the shuffle. Jenn Colella (who must be glad to be in a Broadway show that has run longer than two months) makes the most of Hedda Hopper. Christiane Knoll also makes an impression as Hannah, Charlies mother. Though she haunts Charlie a bit too often for my taste, her material is some of the best in the show.
Set Designer Beowulf Borrit has created a wonderful "old Hollywood movie" feel to the set, with everything being in "mostly" black, white, and grey. It really gives the feel of 'the silver screen'. This theme is carried over by Martin Pakledinez and Amy Clark (Mr. Pakledinez tragically died before the show opened) in the costumes.
Warren Carlyle who is serving as both director and choreographer has done a slick job in making sure that the evening flows smoothly. He is a very talented choreographer and his work here is excellent. Unfortunately everything is weighed down by the mediocre score by Christopher Curtis. Most of the music is wonderful, it's the lyrics that sometimes make you scratch your head. The book (which is also by Curtis) has been helped along by Thomas Meehan.
Despite it's tepid reception (and mostly thumbs down reviews from professional critics) Chaplin has been doing moderately well at the box office and recently extended it's stay on Broadway into the month of June. If it's still running I would expect it to be nominated for some Tony Awards (particularly Rob McClure and Jenn Colella). So far, it is one of only two new musicals to have opened this season (the other being Bring it on which is better IMO).
Overall the show is entertaining. Despite it's few problems I would expect that most people will leave the theater humming the tunes and singing the praises of the talented star. Though you may forget the tunes you were humming the next day, you are sure to remember the performance of the exuberant Rob McClure long after you've left Chaplin.
Friday, October 26, 2012
Saturday, October 20, 2012
Bring it on: The Musical
If you are product of any generation there are certain films that define you, as a broad generalization. If you were in high school in the late 90's early 2000's one of those movies is the original Bring it on, which starred Kirsten Dunst and Eliza Dushku. It has everything a teen comedy needs to be successful. An underdog story, good music, and quotable comedic lines that make it into the everyday lexicon. Now, it's no clueless, but I digress.
A few years ago it was revealed that Andy Blankenbueler, the Tony award winning choreographer of In The Heights, was developing a musical based on the franchise. It was later revealed that the story would be completely fresh, and have no characters or situations from any previous installment of the Bring it on franchise.
The first thing I thought to myself is - that'll never work. As more details were announced, including a very talented creative team, I became a bit more optimistic. The show has had a lengthy gestation period "out of town". It first appeared at The alliance theater in Atlanta before embarking on a national tour. The writers have had a LOT of time to prepare the show for New York audiences. I'm happy to say that that time has payed off.
Bring it on: The Musical is a wonderful time at the theater. I walked in with great trepidation, expecting to like some of it, but hate most of it. The experience was thrilling as well as musically rewarding. The score by Tom Kitt, Amanda Green, and Lin-Manuel Miranda is fresh, modern, and fun to listen to in addition to being well crafted.
The cast is a group of young dancer, singer, actors most of whom are making their Broadway debuts. Ryan Redmond in the supporting role of Bridget is particularly spectacular. Adrienne Warren as Danielle, and Gregory Haney as La Cienga also turn in memorable performances.
This show does not thrive on it's individual performances though. Bring it on: The Musical shines most during it's many ensemble numbers. This talented group of kids dance, and execute very exciting Cheer leading moves with great aplomb. In fact if you are sitting in the first few rows, it seems more likely you'll have a person falling into your lap than over at Spider Man.
Bring it on: The Musical will be closing on Broadway on December 30th 2012. There are rush tickets available on the day of performance for $35 each. Do yourself a favor and get to The St. James before time runs out! You wont be sorry that you did!
A few years ago it was revealed that Andy Blankenbueler, the Tony award winning choreographer of In The Heights, was developing a musical based on the franchise. It was later revealed that the story would be completely fresh, and have no characters or situations from any previous installment of the Bring it on franchise.
The first thing I thought to myself is - that'll never work. As more details were announced, including a very talented creative team, I became a bit more optimistic. The show has had a lengthy gestation period "out of town". It first appeared at The alliance theater in Atlanta before embarking on a national tour. The writers have had a LOT of time to prepare the show for New York audiences. I'm happy to say that that time has payed off.
Bring it on: The Musical is a wonderful time at the theater. I walked in with great trepidation, expecting to like some of it, but hate most of it. The experience was thrilling as well as musically rewarding. The score by Tom Kitt, Amanda Green, and Lin-Manuel Miranda is fresh, modern, and fun to listen to in addition to being well crafted.
The cast is a group of young dancer, singer, actors most of whom are making their Broadway debuts. Ryan Redmond in the supporting role of Bridget is particularly spectacular. Adrienne Warren as Danielle, and Gregory Haney as La Cienga also turn in memorable performances.
This show does not thrive on it's individual performances though. Bring it on: The Musical shines most during it's many ensemble numbers. This talented group of kids dance, and execute very exciting Cheer leading moves with great aplomb. In fact if you are sitting in the first few rows, it seems more likely you'll have a person falling into your lap than over at Spider Man.
Bring it on: The Musical will be closing on Broadway on December 30th 2012. There are rush tickets available on the day of performance for $35 each. Do yourself a favor and get to The St. James before time runs out! You wont be sorry that you did!
Wednesday, October 17, 2012
Harvey
With the close of the 2011-2012 season, comes the start of 2012-2013 season. The new theater season got off to an early start this year with the opening of The Roundabout Theater Company's production of Harvey at studio 54. This Pulitzer prize winner starred The Big Bang Theories Jim Parson's, as well as Jessica Hecht, and Tracee Chimo. They were joined in excellent supporting performances from Charles Kimbrough, Larry Bryggman, and Carol Kane.
I decided upon the initial casting announcement that I would take my mother to see Harvey because she is a huge fan of The Big Bang Theory. Of course I waited until absolutely the last minute to get tickets, (two weeks before the show closed) and saw the show the day before it closed.
My husband Matt and I are members of the Roundabout Theater company's wonderful Hiptix program, which offers $20 tickets to anyone under the age of 36 who registers online. There is a "Gold" version which costs $75 a year, entitles you to side orchestra seats instead of side mezzanine seats, and also to buy two tickets instead of one. This still left us 1 ticket shy so on the morning of the show I got myself up at 5am (after having already gotten up at 5am the day before to get tickets for the Public Theaters production of Into the woods, but that's another blog), and hauled myself up to the studio 54 box office to wait in line for rush tickets.
Due to the slow weekend train schedule, I arrived to the B.O. at around 7am. There was only 1 other person ahead of me, so I felt pretty damn good about my chances. Three hours to go until the box office opened, I read some, ate some, napped some, and chatted some. More people showed up behind us. The box office finally opened at 10am, and we were told that there were no rush tickets, that the show was completely sold out, but we were welcome to wait in the cancellation line. What is a cancellation line? It's a line people without tickets stand in, in hopes that somebody with tickets will return or cancel them.
I wasn't left with much choice. We already had two tickets, I had already waited 3 hours, and there was only one other person ahead of me. Within 10 minutes of opening the person in front of me received a ticket for the 2pm show. An hour later, another ticket became available - for the 2pm. I needed a ticket for the 8pm.
During my time in line I got to chatting with the people in line with me about various other shows, where people were from and the like. The closer it got to 2pm the more people behind me got tickets. The more people behind me got tickets the more confident I became that I, too, would be able to purchase a ticket for that evenings performance.
2pm came, everyone of my line buddies had gotten a ticket for the afternoon show. Even people who showed up at 1pm hoping to get a seat. Fifteen minutes after the curtain went up and I went to the window. and asked about the evening show. There were still no seats available. The woman at the window (with whom I had also had a few discussions during the course of 4 hours I had been waiting in the lobby) felt bad and told me to go get something to eat. Upon my return at 3pm, as luck would have it, an orchestra seat had become available. Granted it cost $100 more than the rush seat I had planned to buy that day, I happily purchased it.
After making my way back home and taking a much needed nap, we all three made our way back to Studio 54. My mother sat in the orchestra seat and Matt and I sat up in the Mezz. The show was very funny. Jim Parsons is excellent on stage (as I already knew from his sassy portrayal of Tommy in The Normal Heart). The play is a bit dated in it's depiction of psychiatry and mental illness, however it still stands the test of time as far as comedy and writing are concerned.
Even though I was deliriously tired after a long weekend, I still thoroughly enjoyed the play. We all got to see the show, and even got a few autographs afterwards (though not Jim Parsons). Mom had a great time, and she got to sit 10 feet away from Dr. Sheldon Cooper. All in all it was worth it.
I decided upon the initial casting announcement that I would take my mother to see Harvey because she is a huge fan of The Big Bang Theory. Of course I waited until absolutely the last minute to get tickets, (two weeks before the show closed) and saw the show the day before it closed.
My husband Matt and I are members of the Roundabout Theater company's wonderful Hiptix program, which offers $20 tickets to anyone under the age of 36 who registers online. There is a "Gold" version which costs $75 a year, entitles you to side orchestra seats instead of side mezzanine seats, and also to buy two tickets instead of one. This still left us 1 ticket shy so on the morning of the show I got myself up at 5am (after having already gotten up at 5am the day before to get tickets for the Public Theaters production of Into the woods, but that's another blog), and hauled myself up to the studio 54 box office to wait in line for rush tickets.
Due to the slow weekend train schedule, I arrived to the B.O. at around 7am. There was only 1 other person ahead of me, so I felt pretty damn good about my chances. Three hours to go until the box office opened, I read some, ate some, napped some, and chatted some. More people showed up behind us. The box office finally opened at 10am, and we were told that there were no rush tickets, that the show was completely sold out, but we were welcome to wait in the cancellation line. What is a cancellation line? It's a line people without tickets stand in, in hopes that somebody with tickets will return or cancel them.
I wasn't left with much choice. We already had two tickets, I had already waited 3 hours, and there was only one other person ahead of me. Within 10 minutes of opening the person in front of me received a ticket for the 2pm show. An hour later, another ticket became available - for the 2pm. I needed a ticket for the 8pm.
During my time in line I got to chatting with the people in line with me about various other shows, where people were from and the like. The closer it got to 2pm the more people behind me got tickets. The more people behind me got tickets the more confident I became that I, too, would be able to purchase a ticket for that evenings performance.
2pm came, everyone of my line buddies had gotten a ticket for the afternoon show. Even people who showed up at 1pm hoping to get a seat. Fifteen minutes after the curtain went up and I went to the window. and asked about the evening show. There were still no seats available. The woman at the window (with whom I had also had a few discussions during the course of 4 hours I had been waiting in the lobby) felt bad and told me to go get something to eat. Upon my return at 3pm, as luck would have it, an orchestra seat had become available. Granted it cost $100 more than the rush seat I had planned to buy that day, I happily purchased it.
After making my way back home and taking a much needed nap, we all three made our way back to Studio 54. My mother sat in the orchestra seat and Matt and I sat up in the Mezz. The show was very funny. Jim Parsons is excellent on stage (as I already knew from his sassy portrayal of Tommy in The Normal Heart). The play is a bit dated in it's depiction of psychiatry and mental illness, however it still stands the test of time as far as comedy and writing are concerned.
Even though I was deliriously tired after a long weekend, I still thoroughly enjoyed the play. We all got to see the show, and even got a few autographs afterwards (though not Jim Parsons). Mom had a great time, and she got to sit 10 feet away from Dr. Sheldon Cooper. All in all it was worth it.
Wednesday, October 10, 2012
Leap of Faith
With this post - I finally finish off the 2011-2013 theater season! There are still some shows that opened last season that I haven't yet seen (Once and Nice Work) and shows that unfortunately had to miss (The Mountaintop, Bonnie and Clyde, and William Shatners Solo show). The last show to open in the previous Broadway season was Alan Menken, Glen Slater, Warren Leight, and Janus Cercone's Leap of Faith.
Leap of Faith is based on the Steve Martin film of the same name. They story concerns a faith healer who comes to a small Midwestern town with big promises so long as the local residents open their hearts and minds (and wallets) to the lord. This show got a really bad rap, and some not so great reviews when it opened April on the final day of Tony eligibility. It was certainly not the best musical I've ever seen, but it was still a great show with some wonderful music. So, why didn't people like it?
Leap of Faith seemed troubled from the start. There was a long gestation period before the show finally had an out of town tryout in LA in 2011. After that initial tryout, many changes were made both to the show, and to the creative team. A new director and choreographer were brought on board, as well as new design elements. In addition, the lead female role was combined with one of the smaller male roles - and other minor characters were dropped or refined as well.
When American Idiot vacated The St. James sooner than anyone had thought they would, the producers of Leap of Faith jumped on the chance to get the show in before the close of Tony voting season. This was a mistake because the show wasn't ready for Broadway yet. The initial plan had been to come in during the fall of 2012 after another New York area reading of the revised material. This would have given the show a bit more time to find it's footing.
Then there is the fact that Leap of Faith was never any ones favorite Steve Martin film, or film in general for that matter. The movie was a box office flop when it premiered in the early 90's. All that meant was that there was a lot the authors could improve upon.
In a smaller, more intimate house the show also may have played better. The St. James seats over 1600 people, and if you are in the rear mezz or the balcony, you are mighty far away from whats happening. This is fine for a big show (like The Producers, which played the St. James for over 5 years). A smaller, more intimate story like this one, however, may have connected better with audiences in a theater that was only maybe 1200 seats.
The cast was, for the most part, wonderful. Raul Esparza was great as Jonas Nightingale. Kecia Lewis-Evans, Leslie Odom, Jr., and Krystal Joy Brown were all fantastic in their roles as well. Jessica Phillips was fine as the sheriff/love interest Marla McGowan, and Kendra Kassebaum was underwhelming as Sam Nightingale, Jonas's sister. The chorus of townspeople/gospel singers was absolutely superb.
Leap of Faith did manage to get a Tony award nomination for Best Musical, and I think that there ticket sales may have improved from their Tony award performance (had the show been open at the time of the broadcast) but unfortunately the show had already closed by that time. Someday there may be a cast album released of the show. I doubt that it will work it's way much into the public lexicon of oft produced shows. The score is worth a listen though, and if an album ever exists with the original Broadway cast, it's worth hearing for the great performances by the aforementioned company members.
Leap of Faith closed on Broadway at the St. James Theater on May 13, 2012 after 19 performances. I look forward to the 2040 City Centers Encores! concert staging!
Leap of Faith is based on the Steve Martin film of the same name. They story concerns a faith healer who comes to a small Midwestern town with big promises so long as the local residents open their hearts and minds (and wallets) to the lord. This show got a really bad rap, and some not so great reviews when it opened April on the final day of Tony eligibility. It was certainly not the best musical I've ever seen, but it was still a great show with some wonderful music. So, why didn't people like it?
Leap of Faith seemed troubled from the start. There was a long gestation period before the show finally had an out of town tryout in LA in 2011. After that initial tryout, many changes were made both to the show, and to the creative team. A new director and choreographer were brought on board, as well as new design elements. In addition, the lead female role was combined with one of the smaller male roles - and other minor characters were dropped or refined as well.
When American Idiot vacated The St. James sooner than anyone had thought they would, the producers of Leap of Faith jumped on the chance to get the show in before the close of Tony voting season. This was a mistake because the show wasn't ready for Broadway yet. The initial plan had been to come in during the fall of 2012 after another New York area reading of the revised material. This would have given the show a bit more time to find it's footing.
Then there is the fact that Leap of Faith was never any ones favorite Steve Martin film, or film in general for that matter. The movie was a box office flop when it premiered in the early 90's. All that meant was that there was a lot the authors could improve upon.
In a smaller, more intimate house the show also may have played better. The St. James seats over 1600 people, and if you are in the rear mezz or the balcony, you are mighty far away from whats happening. This is fine for a big show (like The Producers, which played the St. James for over 5 years). A smaller, more intimate story like this one, however, may have connected better with audiences in a theater that was only maybe 1200 seats.
The cast was, for the most part, wonderful. Raul Esparza was great as Jonas Nightingale. Kecia Lewis-Evans, Leslie Odom, Jr., and Krystal Joy Brown were all fantastic in their roles as well. Jessica Phillips was fine as the sheriff/love interest Marla McGowan, and Kendra Kassebaum was underwhelming as Sam Nightingale, Jonas's sister. The chorus of townspeople/gospel singers was absolutely superb.
Leap of Faith did manage to get a Tony award nomination for Best Musical, and I think that there ticket sales may have improved from their Tony award performance (had the show been open at the time of the broadcast) but unfortunately the show had already closed by that time. Someday there may be a cast album released of the show. I doubt that it will work it's way much into the public lexicon of oft produced shows. The score is worth a listen though, and if an album ever exists with the original Broadway cast, it's worth hearing for the great performances by the aforementioned company members.
Leap of Faith closed on Broadway at the St. James Theater on May 13, 2012 after 19 performances. I look forward to the 2040 City Centers Encores! concert staging!
Monday, October 8, 2012
Don't Dress for Dinner
This is another entry in the "Shows I thought I wrote about but discovered I did not" category. A few seasons ago, there was a hugely successful Tony Award winning revival of Marc Cammoletti's Boeing-Boeing. I saw that revival, and it was funny, fresh, and farcical as you can imagine it being. I'm sure The Roundabout Theater company had the best of intentions when it decided to revive the sequel, Don't Dress for Dinner but those good intentions did not transfer into a good production.
The play centers around the two leading men of the previous play. You don't need to have seen Boeing Boeing to appreciate Don't Dress for Dinner and it's probably better that you haven't, because due to the fact that there are many different translations of each play the characters names are different in each production. Roundabout chose (or perhaps didn't have a choice?) to use different names from the previous revival of Boeing Boeing. If you HAD seen the aforementioned revival, you might be a tad confused at the onset.
Moving on from that point, this play is not as well written. As most sequels seem to go, Don't Dress for dinner is mostly a rehash of what we have already seen in the original. The cast is mostly serviceable. Ben Daniels and Adam James are underwhelming in the two male lead roles. They seem to not have very much chemistry with each other or the women they are playing against.
The shining light of this play is Spencer Kayden who plays Suzette, the cook who gets mistaken for the mistress. She exudes charm, humor, and her dead pan is to die for. Jennifer Tilly also does well as Suzanne - the mistress mistaken for the cook. She overplays at times, but for the most part is spot on.
The set design by John Lee Beaty is wonderful (is his work ever not?). The costumes by William Ivy Long are also fantastic. John Tillinger has done a decent job as director, though some times his staging is confusing. A farce can be dangerous if not played properly, and Mr. Tillinger has staged the physical comedy exceptionally well.
Don't Dress for Dinner is certainly nothing to write home about. As you can tell from my writing, it wasn't the best of productions, which may have made the play look worse than it is. It would be interesting to someday see both plays in repertory together. I can see this play being done quite a bit in stock or community theater productions.
Don't Dress for Dinner closed on Broadway at The American Airlines Theater on June 17, 2012 after 61 performances and 32 previews.
The play centers around the two leading men of the previous play. You don't need to have seen Boeing Boeing to appreciate Don't Dress for Dinner and it's probably better that you haven't, because due to the fact that there are many different translations of each play the characters names are different in each production. Roundabout chose (or perhaps didn't have a choice?) to use different names from the previous revival of Boeing Boeing. If you HAD seen the aforementioned revival, you might be a tad confused at the onset.
Moving on from that point, this play is not as well written. As most sequels seem to go, Don't Dress for dinner is mostly a rehash of what we have already seen in the original. The cast is mostly serviceable. Ben Daniels and Adam James are underwhelming in the two male lead roles. They seem to not have very much chemistry with each other or the women they are playing against.
The shining light of this play is Spencer Kayden who plays Suzette, the cook who gets mistaken for the mistress. She exudes charm, humor, and her dead pan is to die for. Jennifer Tilly also does well as Suzanne - the mistress mistaken for the cook. She overplays at times, but for the most part is spot on.
The set design by John Lee Beaty is wonderful (is his work ever not?). The costumes by William Ivy Long are also fantastic. John Tillinger has done a decent job as director, though some times his staging is confusing. A farce can be dangerous if not played properly, and Mr. Tillinger has staged the physical comedy exceptionally well.
Don't Dress for Dinner is certainly nothing to write home about. As you can tell from my writing, it wasn't the best of productions, which may have made the play look worse than it is. It would be interesting to someday see both plays in repertory together. I can see this play being done quite a bit in stock or community theater productions.
Don't Dress for Dinner closed on Broadway at The American Airlines Theater on June 17, 2012 after 61 performances and 32 previews.
Wednesday, October 3, 2012
Venus in Fur
Ok so, this post is exceptionally late. In fact, the reason it's so late is because I thought that I already wrote it. In fact, I'm still convinced that I DID in fact write about this show, I just don't know what happened to it. Perhaps somewhere in the back of my brain I thought I would see the play again when it transferred from MTC to the Lyceum, and that I would write about it then.
David Ives Venus in Fur is a two person play that shows us an audition that turns into a game of cat and mouse between the writer/director of a new play and the young actress who comes in to read for the lead role. The play within the play (and the play of the title) are based on a novel entitled Venus in FurS which was first published in 1870 and is credited with giving us the term Masochism.
The characters in the play we are watching explore the nature of the characters in the play they are putting on, and it all becomes very interesting as the balance of power shifts between auditioner and auditionee. Interesting questions about the nature of feminism, dominance, and control are raised. This play was published centuries before 50 Shades of grey yet it has similar themes and relationships.
Hugh Dancy and Nina Arianda (who eventually won a Tony Award for her performance) had a tangible chemistry together that oozed from the stage out over the proscenium and into each audience member. Walter Bobbies direction was crisp, with a sharp intensity that kept the action flowing but also lingered on after it's passing.
This is an incredibly well written play that, due to it's minimal set and cast requirements is sure to be a favorite at colleges and regional theaters. If it comes to a theater near you see it. It will entertain you, and also give you a lot to think about.
David Ives Venus in Fur is a two person play that shows us an audition that turns into a game of cat and mouse between the writer/director of a new play and the young actress who comes in to read for the lead role. The play within the play (and the play of the title) are based on a novel entitled Venus in FurS which was first published in 1870 and is credited with giving us the term Masochism.
The characters in the play we are watching explore the nature of the characters in the play they are putting on, and it all becomes very interesting as the balance of power shifts between auditioner and auditionee. Interesting questions about the nature of feminism, dominance, and control are raised. This play was published centuries before 50 Shades of grey yet it has similar themes and relationships.
Hugh Dancy and Nina Arianda (who eventually won a Tony Award for her performance) had a tangible chemistry together that oozed from the stage out over the proscenium and into each audience member. Walter Bobbies direction was crisp, with a sharp intensity that kept the action flowing but also lingered on after it's passing.
This is an incredibly well written play that, due to it's minimal set and cast requirements is sure to be a favorite at colleges and regional theaters. If it comes to a theater near you see it. It will entertain you, and also give you a lot to think about.
Sunday, September 30, 2012
Ghost: The Musical
There are some movies that just sing to you. While you are watching them, the characters seem to cry out "Please, write me a song!". I believe that Ghost is one of those films. Why then, did Ghost: The Musical fail miserably? In this case when the characters cried out "Please, write me a song!", they should have been more specific.
As most of us probably know, Ghost follows the story of Molly, an Artist, and Sam an investment banker. Sam is brutally murdered within the first 20 minutes, and sets out on an after death quest to solve his murder and protect the woman he loves from those set out to do her harm. Along the way he enlists the help of phony medium Oda Mae Brown, who turns out to be more than the fake she always thought she was. It's a love story that has very human, relate able characters.
Unfortunately, the music is terrible. That statement is a little bit unfair. The music is actually not terrible. Glen Ballard, has composed the music and lyrics, with lyrical assists from Bruce Joel Rubin and Dave Stewart (of the Eurythmics). If these songs existed on a different plain, say, the radio, then they would be catchy if not forgettable tunes. The trouble is that barely any of the music fits the moment in the show that it was composed for.
When characters in a musical start to sing, whatever comes out of their mouths should stylistically fit the emotional mood of the scene. This is hardly, ever the case with the characters in Ghost. Some of the music is in fact entirely unneeded.
Having a score that isn't write for the show is one of the problems, the largest problem, however there are others. The "special theatrical effects" are at times breath taking, but for the most part the entire stage is mucked up with bright lights and ridiculous staging. Matthew Warchus, who is usually a smart director, has staged things so chaotically that at times it doesn't even make sense.
The actors are all very capable, they have lovely voices and are doing the best they can with the material that has been given to them. Da'Vine Joy Randolph is of course the stand out as Oda Mae Brown. She is the only actor who comes close to matching the memory of the person who came before her on screen.
Which leads us to another problem. This is a film that is still exceptionally fresh in peoples minds. It's an iconic film, with iconic performances from some of America's favorite actors. Whoopi Goldberg, Demi Moore, and of course Patrick Swayze. While it's certainly not fair to compare those performances with their stage counterparts, it's also not fair to say that they are not in our minds as we are watching the play. It was just too soon for audiences to accept new interpretations of these performances.
Of course, if the book and the music has been wonderful none of these other things would have mattered. Ghost: The Musical closed on Broadway at The Lunt-Fontaine Theater on August 18, 2012 after 136 performances. The show is still playing on London through the month of October. No national tour has been announced.
As most of us probably know, Ghost follows the story of Molly, an Artist, and Sam an investment banker. Sam is brutally murdered within the first 20 minutes, and sets out on an after death quest to solve his murder and protect the woman he loves from those set out to do her harm. Along the way he enlists the help of phony medium Oda Mae Brown, who turns out to be more than the fake she always thought she was. It's a love story that has very human, relate able characters.
Unfortunately, the music is terrible. That statement is a little bit unfair. The music is actually not terrible. Glen Ballard, has composed the music and lyrics, with lyrical assists from Bruce Joel Rubin and Dave Stewart (of the Eurythmics). If these songs existed on a different plain, say, the radio, then they would be catchy if not forgettable tunes. The trouble is that barely any of the music fits the moment in the show that it was composed for.
When characters in a musical start to sing, whatever comes out of their mouths should stylistically fit the emotional mood of the scene. This is hardly, ever the case with the characters in Ghost. Some of the music is in fact entirely unneeded.
Having a score that isn't write for the show is one of the problems, the largest problem, however there are others. The "special theatrical effects" are at times breath taking, but for the most part the entire stage is mucked up with bright lights and ridiculous staging. Matthew Warchus, who is usually a smart director, has staged things so chaotically that at times it doesn't even make sense.
The actors are all very capable, they have lovely voices and are doing the best they can with the material that has been given to them. Da'Vine Joy Randolph is of course the stand out as Oda Mae Brown. She is the only actor who comes close to matching the memory of the person who came before her on screen.
Which leads us to another problem. This is a film that is still exceptionally fresh in peoples minds. It's an iconic film, with iconic performances from some of America's favorite actors. Whoopi Goldberg, Demi Moore, and of course Patrick Swayze. While it's certainly not fair to compare those performances with their stage counterparts, it's also not fair to say that they are not in our minds as we are watching the play. It was just too soon for audiences to accept new interpretations of these performances.
Of course, if the book and the music has been wonderful none of these other things would have mattered. Ghost: The Musical closed on Broadway at The Lunt-Fontaine Theater on August 18, 2012 after 136 performances. The show is still playing on London through the month of October. No national tour has been announced.
Thursday, September 27, 2012
Porgy and Bess
There are very few pieces of theater that continue to stir up controversy, even 75 years after it originally premiered. Porgy and Bess is one of those always controversial pieces of American Theater. Technically an opera, Dianne Paulus and Suzan-Lori Parks set out to created a slimmed down, intimate version of George and Ira Gershwin and DuBose and Dorothy Hayward's four hour opus.
From the outset of this announcement the criticism came. After a lengthy interview with the new creative team, and leading lady Audra McDonald, Stephen Sondheim sent a letter to the New York Times condemning them for their arrogance. None the less, the newly titled The Gershwin's Porgy and Bess arrived on Broadway. Reviews and ticket sales were strong, prompting an extension of the originally limited engagement. It was still limited, just a little expanded. The show went on to win 2012 Tony Awards for Best revival of a musical, and of course Audra McDonald's record Breaking 5th Tony award.
I had the pleasure of seeing the production two weeks before it was scheduled to close. Unfortunately, Norm Lewis and David Alan Grier were both out at the performance I attended. Their understudies were extremely talented, and more than capable.
The simple set design by Riccardo Hernandez was effective for the most part, though at times it failed to live up to the scope of the music and the moment. Costumes, by former Project Runway contestant Esosa, were lovely, and perfect for each character on catfish row. Christopher Akerlind was able to transport you with his lighting design. Much of the shows "scene changes" were accomplished with simple changes in light rather than actual moving of scenery.
I must confess I am not familiar with all four hours of music in this epic Gershwin Opera. I am not able to make any comparisons, however, I can say that Ms. Paulus and Ms. Parks adapted a well told story. There did not seem to be any holes or gaps, and each character was well developed. Though it did seem as though the role of Bess was given too little to sing.
That brings me around to the main attraction. Audra McDonald was a true revelation in the role of Bess. From the moment she stepped onto the stage she was absolutely mesmerizing. Her vocals were impeccable, and you are reminded at once of her Julliard training. In addition to being expertly sung, Audra McDonald brings an emotional depth and disparity to the role of Bess. It was truly a joy to watch.
Nikki Rene Daniels, Joshua Henry, Philip Boykin, Natasha Yvette Williams, and Bryonha Marie Parham all shine in their supporting roles. Nikki Rene Daniels is heart breaking as Clara, and Natasha Yvette Williams splits your sides as Mariah. Equally heart wrenching is Ms. Parhams haunting rendition of "My Mans Gone Now".
This production of The Gershwin's Porgy and Bess closed on Broadway on Sunday September 23, 2012 at The Richard Rogers Theater. A national tour is reported to kick off in 2013. There has been no word yet on specific dates or casting, but it's well worth checking out. Spike Lee has also expressed interest in directing a new film version, though no official announcement has been made, nor is it clear if it would be a new adaptation, or a film version using the current Broadway model. Either way, a two disc cast album exists and is well worth a listen!
From the outset of this announcement the criticism came. After a lengthy interview with the new creative team, and leading lady Audra McDonald, Stephen Sondheim sent a letter to the New York Times condemning them for their arrogance. None the less, the newly titled The Gershwin's Porgy and Bess arrived on Broadway. Reviews and ticket sales were strong, prompting an extension of the originally limited engagement. It was still limited, just a little expanded. The show went on to win 2012 Tony Awards for Best revival of a musical, and of course Audra McDonald's record Breaking 5th Tony award.
I had the pleasure of seeing the production two weeks before it was scheduled to close. Unfortunately, Norm Lewis and David Alan Grier were both out at the performance I attended. Their understudies were extremely talented, and more than capable.
The simple set design by Riccardo Hernandez was effective for the most part, though at times it failed to live up to the scope of the music and the moment. Costumes, by former Project Runway contestant Esosa, were lovely, and perfect for each character on catfish row. Christopher Akerlind was able to transport you with his lighting design. Much of the shows "scene changes" were accomplished with simple changes in light rather than actual moving of scenery.
I must confess I am not familiar with all four hours of music in this epic Gershwin Opera. I am not able to make any comparisons, however, I can say that Ms. Paulus and Ms. Parks adapted a well told story. There did not seem to be any holes or gaps, and each character was well developed. Though it did seem as though the role of Bess was given too little to sing.
That brings me around to the main attraction. Audra McDonald was a true revelation in the role of Bess. From the moment she stepped onto the stage she was absolutely mesmerizing. Her vocals were impeccable, and you are reminded at once of her Julliard training. In addition to being expertly sung, Audra McDonald brings an emotional depth and disparity to the role of Bess. It was truly a joy to watch.
Nikki Rene Daniels, Joshua Henry, Philip Boykin, Natasha Yvette Williams, and Bryonha Marie Parham all shine in their supporting roles. Nikki Rene Daniels is heart breaking as Clara, and Natasha Yvette Williams splits your sides as Mariah. Equally heart wrenching is Ms. Parhams haunting rendition of "My Mans Gone Now".
This production of The Gershwin's Porgy and Bess closed on Broadway on Sunday September 23, 2012 at The Richard Rogers Theater. A national tour is reported to kick off in 2013. There has been no word yet on specific dates or casting, but it's well worth checking out. Spike Lee has also expressed interest in directing a new film version, though no official announcement has been made, nor is it clear if it would be a new adaptation, or a film version using the current Broadway model. Either way, a two disc cast album exists and is well worth a listen!
Tuesday, August 14, 2012
One Man, Two Guvnors
There seems to be a trend in the theater right now of taking classical literature or plays and adapting them into "new" works for modern audiences. This has been done with this seasons Tony winning Venus in Fur, and the play in question One Man, Two Guvnors. Think of it as the theatrical equivalent of "10 Things I Hate About You" or "She's the Man".
One Man, Two Guvnors comes to us courtesy of The National Theater in Great Brittan. It is adapted by Richard Bean from the classic 1743 comedy The Servant of Two Masters. In it, the permanently ravenous Francis Henshall finds himself working for both a gangster and a criminal in hiding, both of whom are linked in a web of schemes, extortions and romantic associations. To prevent discovery, Francis must do everything he can to keep his two guvnors apart. For the uninitiated "Govnor" is a British word meaning employer.
One Man has it's roots in the old Italian style of Commedia Dell'Arte, a low brow style marked by improvisation and musical interludes. In Commedia Dell'Arte, nothing was ever written down. Companies of actors would just do whatever happened, and audiences loved it. The Servant of Two Masters. One was of the very first of these types of plays to be written down and scripted, and it survives to this day.
The sound in the theater isn't very good for some reason, and due to the cockney accents a lot of the dialogue is lost at the beginning of the play while your ear gets used to translating. Once you get used to it though, the play is very funny. You get the feeling that what is written on the page may not be half as funny as the way the actors are presenting it.
As Francis Henshall, Tony Award winner James Corden steels the show from the very moment he steps foot on the stage, and he never gives it back. His comedic timing and delivery are impeccable. You immediately fall in love with him and root for him for the entire performance.
He is joined by Jemima Rooper as Jasper and Oliver Chris as Stanley, who are equally adept in their comic abilities. The entire cast spends the show playing for laughs and working very hard to get them. In the role of Alfie, a man in his 80's who has had a stroke and needs a pace maker, Tom Edden chews the scenery in a Tony nominated performance that nearly pries the moment away from James Corden.
These folks are a team, and no one performance would be the same without one of these people on stage. You get the sense of a very rehearsed improve group giving you a unique experience that will never be repeated. Nicholas Hytner has done a wonderful job directing, and the physical comedy bits have been expertly staged by Cal McCrystal (who also works with Sacha Baron Cohen).
The physical elements of the production are also perfect. The English music hall inspired set and costume design by Mark Thompson perfectly execute their function as well as being fun and whimsical. They aide in the comedy and the story telling rather than just being there.
And mention must be made of the wonderful songs composed by Grant Olding, and played by the onstage band "The Craze". The music is an English style called Skiffle, which has roots in blues in country, but is early 60's style British rock music. The Craze plays the audiences to their seats, and occasionally joins the actors on stage during the show. Even though they never speak a line of dialogue they feel like an integral part of the play.
One Man, Two Guvnors plays on Broadway at The Music Box Theater until Sunday September 2nd. There are $35 general rush tickets available at the box office on the day of the performance. If you intend to get one of these tickets, you should be to the box office at least one hour before the theater opens. The show is also frequently on the TKTS board.
One Man, Two Guvnors comes to us courtesy of The National Theater in Great Brittan. It is adapted by Richard Bean from the classic 1743 comedy The Servant of Two Masters. In it, the permanently ravenous Francis Henshall finds himself working for both a gangster and a criminal in hiding, both of whom are linked in a web of schemes, extortions and romantic associations. To prevent discovery, Francis must do everything he can to keep his two guvnors apart. For the uninitiated "Govnor" is a British word meaning employer.
One Man has it's roots in the old Italian style of Commedia Dell'Arte, a low brow style marked by improvisation and musical interludes. In Commedia Dell'Arte, nothing was ever written down. Companies of actors would just do whatever happened, and audiences loved it. The Servant of Two Masters. One was of the very first of these types of plays to be written down and scripted, and it survives to this day.
The sound in the theater isn't very good for some reason, and due to the cockney accents a lot of the dialogue is lost at the beginning of the play while your ear gets used to translating. Once you get used to it though, the play is very funny. You get the feeling that what is written on the page may not be half as funny as the way the actors are presenting it.
As Francis Henshall, Tony Award winner James Corden steels the show from the very moment he steps foot on the stage, and he never gives it back. His comedic timing and delivery are impeccable. You immediately fall in love with him and root for him for the entire performance.
He is joined by Jemima Rooper as Jasper and Oliver Chris as Stanley, who are equally adept in their comic abilities. The entire cast spends the show playing for laughs and working very hard to get them. In the role of Alfie, a man in his 80's who has had a stroke and needs a pace maker, Tom Edden chews the scenery in a Tony nominated performance that nearly pries the moment away from James Corden.
These folks are a team, and no one performance would be the same without one of these people on stage. You get the sense of a very rehearsed improve group giving you a unique experience that will never be repeated. Nicholas Hytner has done a wonderful job directing, and the physical comedy bits have been expertly staged by Cal McCrystal (who also works with Sacha Baron Cohen).
The physical elements of the production are also perfect. The English music hall inspired set and costume design by Mark Thompson perfectly execute their function as well as being fun and whimsical. They aide in the comedy and the story telling rather than just being there.
And mention must be made of the wonderful songs composed by Grant Olding, and played by the onstage band "The Craze". The music is an English style called Skiffle, which has roots in blues in country, but is early 60's style British rock music. The Craze plays the audiences to their seats, and occasionally joins the actors on stage during the show. Even though they never speak a line of dialogue they feel like an integral part of the play.
One Man, Two Guvnors plays on Broadway at The Music Box Theater until Sunday September 2nd. There are $35 general rush tickets available at the box office on the day of the performance. If you intend to get one of these tickets, you should be to the box office at least one hour before the theater opens. The show is also frequently on the TKTS board.
Saturday, August 11, 2012
End of the Rainbow
For those who are lucky, once in a while a show will come along that has the ability to transport you out of your seat in the theater and bring you right into the room of the action. End of The Rainbow is one of those plays. Peter Quiller has constructed a masterpiece that recounts Judy Garlands final London concert series just months before her untimely death.
There is no doubt that the star of this wonderful play is the brilliant performance of Tracie Bennett as Judy Garland. Some may say that she doesn't exactly do the most wonderful impersonation of Judy Garland, and I would tend to agree with them. You may find someone who looks more like her, or does her voice better, but we're talking about the full and complete package. There isn't a moment that you don't forget you're not actually watching Judy Garland in her final months of life.
End of the Rainbow takes place over the course of the five week engagement of what was supposed to have been Judy Garland's comeback tour, which was entitled Talk of the Town. Most of the action takes place in her London hotel suite. At her side is Mickey Deans, her charismatic young lover and caretaker, and new manager. Also on hand is her pianist and old friend Anthony. Through the course of the play we are given a window into what the private struggle for Judy may have been like, and it is both breath taking and tear inducing.
Tracie Bennett does all of her own singing through out the entire evening. The songs are used poignantly to comment on and enhance the action. The show is not a musical, though it does have about 5 or 6 songs sung both at rehearsal in her hotel suite, and on stage at the theater backed by a live band.
Ms. Bennett is joined onstage by Michael Cumpsty as Anthony, her confidant, and the one man who may have been able to save her life had she been willing to let him. Tom Pelphry is passable as Mickey Deans though he doesn't really have the range to match Bennett. In a series of smaller roles Jay Russel does exactly what he needs to do.
The opulent set and costumes by William Dudley is used to wonderful effect through the course of the night. Terry Johnson's direction is absolutely superb. The lighting is serviceable if not magical. There are some beautifully lit moments but for the most part it's merely functional.
People, I kid you not when I tell you that this show, this performance in this show, is the kind of performance that in 20 years or so is going to be the answer to the question "If you could go back in time and catch any performance on Broadway what would it be".
End of the Rainbow plays on Broadway at The Belasco Theater until Sunday August 19th. There are $30 rush tickets available to anyone the day of the show. Go and get one, and be one of the people who gets to say they saw the performance of a lifetime. You will not be disappointed.
There is no doubt that the star of this wonderful play is the brilliant performance of Tracie Bennett as Judy Garland. Some may say that she doesn't exactly do the most wonderful impersonation of Judy Garland, and I would tend to agree with them. You may find someone who looks more like her, or does her voice better, but we're talking about the full and complete package. There isn't a moment that you don't forget you're not actually watching Judy Garland in her final months of life.
End of the Rainbow takes place over the course of the five week engagement of what was supposed to have been Judy Garland's comeback tour, which was entitled Talk of the Town. Most of the action takes place in her London hotel suite. At her side is Mickey Deans, her charismatic young lover and caretaker, and new manager. Also on hand is her pianist and old friend Anthony. Through the course of the play we are given a window into what the private struggle for Judy may have been like, and it is both breath taking and tear inducing.
Tracie Bennett does all of her own singing through out the entire evening. The songs are used poignantly to comment on and enhance the action. The show is not a musical, though it does have about 5 or 6 songs sung both at rehearsal in her hotel suite, and on stage at the theater backed by a live band.
Ms. Bennett is joined onstage by Michael Cumpsty as Anthony, her confidant, and the one man who may have been able to save her life had she been willing to let him. Tom Pelphry is passable as Mickey Deans though he doesn't really have the range to match Bennett. In a series of smaller roles Jay Russel does exactly what he needs to do.
The opulent set and costumes by William Dudley is used to wonderful effect through the course of the night. Terry Johnson's direction is absolutely superb. The lighting is serviceable if not magical. There are some beautifully lit moments but for the most part it's merely functional.
People, I kid you not when I tell you that this show, this performance in this show, is the kind of performance that in 20 years or so is going to be the answer to the question "If you could go back in time and catch any performance on Broadway what would it be".
End of the Rainbow plays on Broadway at The Belasco Theater until Sunday August 19th. There are $30 rush tickets available to anyone the day of the show. Go and get one, and be one of the people who gets to say they saw the performance of a lifetime. You will not be disappointed.
Wednesday, August 8, 2012
The Columnist
Very often when I am at a play I find myself intrigued by the subject matter, but entirely bored with the way that it is being presented to me. This was the case with Manhattan Theater Clubs production of David Auburns new play The Columnist.
Pulitzer Prize winner Auburn (Proof) has a very interesting subject indeed in that of Joseph Alsop, a political columnist who in his day was as powerful as Hedda Hopper was in hers, though albeit in an entirely different arena. Mr. Alsop affected presidents, foreign and domestic policy, and most importantly was a huge supporter of the Vietnam war. Oh and he was gay.
John Lithgow gave a wonderfully deep and nuanced portrayal of a man shrouded in mystery. The emotional juxtaposition of being a man of power in Washington, a man who enjoys control, and also a soft father figure - and the need for a gentle love were tangible.
Unfortunately much of the dialogue is dry and uninteresting. There is so much exposition that you feel as though you are drowning in the facts. The supporting characters are also not as well developed. Boyd Gaines is terrific (as he always is) as Joe's brother Stewart (who is also a reporter) and his is the most equally explored character. The nature of that relationship, and the dynamic between the two of them is the most interesting of the play.
Margaret Colin and Grace Gummer are both doing their best with what they have to work with. This is one of the few times in my life that I could not wait for a play to end. It was just the most dry and boring evening of theater I have experienced in a long while.
Some others may have enjoyed it (and they must have because it extended twice) but it was not my cup of tea.
The Columnist closed at the Samuel Friedman Theater on Broadway on July 8th, 20012 after 86 performances .
Pulitzer Prize winner Auburn (Proof) has a very interesting subject indeed in that of Joseph Alsop, a political columnist who in his day was as powerful as Hedda Hopper was in hers, though albeit in an entirely different arena. Mr. Alsop affected presidents, foreign and domestic policy, and most importantly was a huge supporter of the Vietnam war. Oh and he was gay.
John Lithgow gave a wonderfully deep and nuanced portrayal of a man shrouded in mystery. The emotional juxtaposition of being a man of power in Washington, a man who enjoys control, and also a soft father figure - and the need for a gentle love were tangible.
Unfortunately much of the dialogue is dry and uninteresting. There is so much exposition that you feel as though you are drowning in the facts. The supporting characters are also not as well developed. Boyd Gaines is terrific (as he always is) as Joe's brother Stewart (who is also a reporter) and his is the most equally explored character. The nature of that relationship, and the dynamic between the two of them is the most interesting of the play.
Margaret Colin and Grace Gummer are both doing their best with what they have to work with. This is one of the few times in my life that I could not wait for a play to end. It was just the most dry and boring evening of theater I have experienced in a long while.
Some others may have enjoyed it (and they must have because it extended twice) but it was not my cup of tea.
The Columnist closed at the Samuel Friedman Theater on Broadway on July 8th, 20012 after 86 performances .
Wednesday, August 1, 2012
The Lyons
Every so often a play with come out that doesn't really have a deeper meaning than what is on the surface. Nicky Silvers The Lyons is one such play. That's not to say that the play is frivolous or by any means without purpose. The Lyons is about a family grappling with the impending death of its patriarch. When Ben Lyons' wife, Rita, and their grown children gather to say goodbye, they learn that despite being a family, each of them is utterly isolated. Afraid of closeness and afraid of solitude, they are propelled into foreign territory - human connection.
Linda Lavin is the anchor of the production. With her grounded portrayal of matriarch Rita Lyons, we are given a subtle nuance of a performance that brings backs floods of memories of women we may know. In particular I was reminded of my grandmother.
What we see before us is a group of people who have gone through life with bumpers on, bouncing off one another like cars at a carnival, and as a result have no idea how to relate to one another, or to other human beings. This is particularly true of the Lyons children played by Kate Jennings Grant and Michael Esper. There is particularly heart breaking scene where we witness the young Lyons boy attempting to make one such connection, and we see the effects of growing up without the perception of love, affection, and communication.
The Lyons is not a great play, but it is a good play. It leaves you with things to discuss at dinner afterward, but doesn't stay with you for days like some plays do. Though you will find yourself telling others about Linda Lavins performance (which did garner her a Tony nomination).
Due to it's small cast, and minimal set requirements I would expect to see The Lyons done quite frequently in regional productions. If it comes to a town near you it's worth seeing. The Broadway production closed on July 1st 2012 after 80 performances at The Cort Theater.
The cast also included Dick Latessa, Gregory Wooddell, and Brenda Pressley. Direction by the wonderful Mark Brokaw, set design by Allen Moyer, costumes by Michael Krass, and Lighting by David Lander.
Linda Lavin is the anchor of the production. With her grounded portrayal of matriarch Rita Lyons, we are given a subtle nuance of a performance that brings backs floods of memories of women we may know. In particular I was reminded of my grandmother.
What we see before us is a group of people who have gone through life with bumpers on, bouncing off one another like cars at a carnival, and as a result have no idea how to relate to one another, or to other human beings. This is particularly true of the Lyons children played by Kate Jennings Grant and Michael Esper. There is particularly heart breaking scene where we witness the young Lyons boy attempting to make one such connection, and we see the effects of growing up without the perception of love, affection, and communication.
The Lyons is not a great play, but it is a good play. It leaves you with things to discuss at dinner afterward, but doesn't stay with you for days like some plays do. Though you will find yourself telling others about Linda Lavins performance (which did garner her a Tony nomination).
Due to it's small cast, and minimal set requirements I would expect to see The Lyons done quite frequently in regional productions. If it comes to a town near you it's worth seeing. The Broadway production closed on July 1st 2012 after 80 performances at The Cort Theater.
The cast also included Dick Latessa, Gregory Wooddell, and Brenda Pressley. Direction by the wonderful Mark Brokaw, set design by Allen Moyer, costumes by Michael Krass, and Lighting by David Lander.
Saturday, July 21, 2012
Sister Act
Full Disclosure: Sister Act starring Whoopi Goldberg is one of my all time favorite movies. It's one of those movies that makes me laugh every time I watch it, and fills me with great joy. I have been waiting for Delores Van Cartier to find her way to the stage since I first saw the movie in theaters in 1992. Needless to say, my expectations were high going in.
There are a few things that any Sister Act fan should know before seeing the musical. It's the same basic plot Singer loves married man, singer witness lover murdering somebody, singer hides with sisters and makes inner discoveries about herself. The details of all that are very different however.
Delores Van Cartier is a young aspiring singer in the Philadelphia area (versus an older, nearly past her prime lounge singer). The score is original, so don't expect to hear "My God" or any of the other songs from the film. Alan Menken and Glen Slater have actually written a wonderful new score with catchy tunes that feel familiar minutes after hearing them.
Book writers Cherri Steinkellner and Bill Steinkellner with additional book material by Douglas Carter Beane have written a pretty good script to go along with the wonderful score. At times, the humor feels a little too much like an early 90's sitcom than the book to a Broadway show, and that can be a bit laborious at times, but for the most part it's a lot of fun.
I did not see the original Broadway Cast of Sister Act, Raven Symone as Delores is hit or miss. She hits the vocals pretty much right on, though at times her voice is a bit too thin for the role. The acting is where she misses. While Raven is an excellent comedienne and has a certain star quality on screen that makes her shine, that light doesn't exactly fill the Broadway Theater. In the more comedic moments and during the songs she is at her best, it's the scenes that are more character driven or story driven that she struggles.
Carolee Carmello is doing her best as The Mother Superior. The role is admittedly underwritten, but Ms. Carmello, the consummate professional, makes it seem like Shakespeare. The rest of the cast is delightful, Sarah Bolt as Sister Mary Patrick, Marla Mindelle as Sister Mary Robert, and Audree Neenan as Sister Mary Lazarus recall the actresses who played their roles in the films without being carbon copies of them.
Jerry Zaks has put his signature slick sheen on this production, and everything flows seamlessly from one thing to the next. Anthony Van Laasts choreography is perfect for the production. Set design by Klara Zieglerova is functional, and at times opulent, and as always Natasha Katz lighting is superb. Lez Brotherstons costume designs do the job, but lets face it, they're pretty much 70's clothes and nun habits.
It's easy to enjoy this version of Sister Act those like me who enjoyed the film just have to put that out of our minds and accept this new version of the story. Those who have not ever seen the film, or perhaps aren't as familiar with have rollicking good time.
Sister Act plays at The Broadway Theater until Sunday August 26th. There are rush tickets available at the box office on the day of performance, but you should line up at least 1 hour before the box office opens if you hope to get one of these seats. The show is also usually available on TKTS.
There are a few things that any Sister Act fan should know before seeing the musical. It's the same basic plot Singer loves married man, singer witness lover murdering somebody, singer hides with sisters and makes inner discoveries about herself. The details of all that are very different however.
Delores Van Cartier is a young aspiring singer in the Philadelphia area (versus an older, nearly past her prime lounge singer). The score is original, so don't expect to hear "My God" or any of the other songs from the film. Alan Menken and Glen Slater have actually written a wonderful new score with catchy tunes that feel familiar minutes after hearing them.
Book writers Cherri Steinkellner and Bill Steinkellner with additional book material by Douglas Carter Beane have written a pretty good script to go along with the wonderful score. At times, the humor feels a little too much like an early 90's sitcom than the book to a Broadway show, and that can be a bit laborious at times, but for the most part it's a lot of fun.
I did not see the original Broadway Cast of Sister Act, Raven Symone as Delores is hit or miss. She hits the vocals pretty much right on, though at times her voice is a bit too thin for the role. The acting is where she misses. While Raven is an excellent comedienne and has a certain star quality on screen that makes her shine, that light doesn't exactly fill the Broadway Theater. In the more comedic moments and during the songs she is at her best, it's the scenes that are more character driven or story driven that she struggles.
Carolee Carmello is doing her best as The Mother Superior. The role is admittedly underwritten, but Ms. Carmello, the consummate professional, makes it seem like Shakespeare. The rest of the cast is delightful, Sarah Bolt as Sister Mary Patrick, Marla Mindelle as Sister Mary Robert, and Audree Neenan as Sister Mary Lazarus recall the actresses who played their roles in the films without being carbon copies of them.
Jerry Zaks has put his signature slick sheen on this production, and everything flows seamlessly from one thing to the next. Anthony Van Laasts choreography is perfect for the production. Set design by Klara Zieglerova is functional, and at times opulent, and as always Natasha Katz lighting is superb. Lez Brotherstons costume designs do the job, but lets face it, they're pretty much 70's clothes and nun habits.
It's easy to enjoy this version of Sister Act those like me who enjoyed the film just have to put that out of our minds and accept this new version of the story. Those who have not ever seen the film, or perhaps aren't as familiar with have rollicking good time.
Sister Act plays at The Broadway Theater until Sunday August 26th. There are rush tickets available at the box office on the day of performance, but you should line up at least 1 hour before the box office opens if you hope to get one of these seats. The show is also usually available on TKTS.
Sunday, July 15, 2012
A Streetcar Named Desire
"Stella" most people are familiar with the film clip of a young Marlon Brando screaming this name in a white tank top. There are probably very few who actually know what this snippet is from. More familiar is the line "I have always relied on the kindness of strangers". Both of these famous quotes are being recited 8 times a week at The Broadhurst theater in an excellent multi racial revival of Tennessee William's A Streetcar Named Desire.
Fewer people still probably realize that there actually was a streetcar named Desire in New Orleans which ran from 1920-1948. It ran down Bourbon street, through the Quarter, to Desire st. in the bywater district of New Orleans and back up canal. The tragic anti heroine of the piece, Blanche Du Bois arrives saying "They told me to take a streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at Elsyian Fields!".
I wont bother summarizing the play, as many of you have probably either read it or seen it, and if you haven't, you definitely should. The current revival, as previously stated, uses a multi racial cast which most of the time doesn't matter, but sometimes does. For example, Stanley Kowalski is described as a working class man of polish decent. There were no black people in Poland at the time this play takes place, so they never mention his family name.
Also, the entire premise of the play, if truly thought about, is historically implausible with people of color in the lead roles. That being said, if you put that thought of your mind, it's a truly excellent production of an American Classic.
In the role of Blanche Nicole Ari Parker is the perfect blend of regal southern belle and fragile woman on the edge. She brings a humor to the role of Blanche that isn't always present, but at the same time you feel that at any moment she may break. Blair Underwood brings his raw masculinity to Stanley, and it is obvious why Stella is so attracted to him. He is magnetic, and frighting at the same time. Daphne Rubin Vega as Stella does not disappoint.
The entire play is not only beautiful to listen to, it's beautiful to watch. Thanks to fantastic direction from Emily Mann. The set design by Eugene Lee and costume design by Paul Tazewell complement each other brilliantly. Terrance Blanchard's score is almost an additional character in the piece. It is part of what makes this revival so vibrant. The music is the driving force behind the action.
This revival plays until Sunday July 22nd at The Broadhurst Theater. There are student tickets, and the show is frequently on the TKTS board. There are also discounts available at Broadwaybox.com
Fewer people still probably realize that there actually was a streetcar named Desire in New Orleans which ran from 1920-1948. It ran down Bourbon street, through the Quarter, to Desire st. in the bywater district of New Orleans and back up canal. The tragic anti heroine of the piece, Blanche Du Bois arrives saying "They told me to take a streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at Elsyian Fields!".
I wont bother summarizing the play, as many of you have probably either read it or seen it, and if you haven't, you definitely should. The current revival, as previously stated, uses a multi racial cast which most of the time doesn't matter, but sometimes does. For example, Stanley Kowalski is described as a working class man of polish decent. There were no black people in Poland at the time this play takes place, so they never mention his family name.
Also, the entire premise of the play, if truly thought about, is historically implausible with people of color in the lead roles. That being said, if you put that thought of your mind, it's a truly excellent production of an American Classic.
In the role of Blanche Nicole Ari Parker is the perfect blend of regal southern belle and fragile woman on the edge. She brings a humor to the role of Blanche that isn't always present, but at the same time you feel that at any moment she may break. Blair Underwood brings his raw masculinity to Stanley, and it is obvious why Stella is so attracted to him. He is magnetic, and frighting at the same time. Daphne Rubin Vega as Stella does not disappoint.
The entire play is not only beautiful to listen to, it's beautiful to watch. Thanks to fantastic direction from Emily Mann. The set design by Eugene Lee and costume design by Paul Tazewell complement each other brilliantly. Terrance Blanchard's score is almost an additional character in the piece. It is part of what makes this revival so vibrant. The music is the driving force behind the action.
This revival plays until Sunday July 22nd at The Broadhurst Theater. There are student tickets, and the show is frequently on the TKTS board. There are also discounts available at Broadwaybox.com
Friday, July 6, 2012
Clybourne Park
Bruce Norris owes a great debt of gratitude to Lorraine Hansbury. His Pulitzer Prize (and now Tony award winning) play, Clybourne Park is written in response to Ms. Hansburys American classic A Raisin in the Sun. For those who are unfamiliar with the source material, A Raisin in the Sun dramatizes the plight of the Youngers, a black family in a Chicago suburb fighting for a better life. Part of this better life means moving into a white neighborhood. In Bruce Norris's play, Clybourne Park we are shown this house, and the other side of the fight.
The play is described by producers as such: Clybourne Park explodes in two outrageous acts set 50 years apart. Act One takes place in 1959, as nervous community leaders anxiously try to stop the sale of a home to a black family. Act Two is set in the same house in the present day, as the now predominantly African-American neighborhood battles to hold its ground in the face of gentrification.
This is the basic premise of the play, but I assure you it's themes and meaning are truly deeper than that. Norris is making us laugh and gasp, but he's also slapping us in the face and punching us in the gut. This is truly a piece that ignites discussion as well as makes you think about your own view points.
Pam MacKinnons direction is slick and precise. There is nary a moment of dead space in the fast paced comedic drama. Daniel Ostling has created a two for one set design. The first act is a comfortable upper middle class 50's household, while the second act is a modern day fixer upper. With her costume design Ilona Somogyi has perfectly evoked both the personalities of each character, their social status and standing, and the time period that they represent. Allen Lee Hughes lighting is functional, and at the end of the second act, somewhat magical.
The company of actors assembled on the stage is truly wonderful. Each actor is pulling double duty as they portray completely different characters in each act. Clybourne Park has recently won the Tony Award for best play. While it wasn't my first (or second) choice to win this distinguished award, I can certainly see it's merits, and say that it is not undeserving of such praise.
Clybourne Park is now playing at The Walter Kerr Theater on Broadway through September 2. It is frequently on the board at TKTS and also offers student tickets (2 per valid ID) when the box office opens. If you enjoy a good dramatic comedy this is the play for you.
The play is described by producers as such: Clybourne Park explodes in two outrageous acts set 50 years apart. Act One takes place in 1959, as nervous community leaders anxiously try to stop the sale of a home to a black family. Act Two is set in the same house in the present day, as the now predominantly African-American neighborhood battles to hold its ground in the face of gentrification.
This is the basic premise of the play, but I assure you it's themes and meaning are truly deeper than that. Norris is making us laugh and gasp, but he's also slapping us in the face and punching us in the gut. This is truly a piece that ignites discussion as well as makes you think about your own view points.
Pam MacKinnons direction is slick and precise. There is nary a moment of dead space in the fast paced comedic drama. Daniel Ostling has created a two for one set design. The first act is a comfortable upper middle class 50's household, while the second act is a modern day fixer upper. With her costume design Ilona Somogyi has perfectly evoked both the personalities of each character, their social status and standing, and the time period that they represent. Allen Lee Hughes lighting is functional, and at the end of the second act, somewhat magical.
The company of actors assembled on the stage is truly wonderful. Each actor is pulling double duty as they portray completely different characters in each act. Clybourne Park has recently won the Tony Award for best play. While it wasn't my first (or second) choice to win this distinguished award, I can certainly see it's merits, and say that it is not undeserving of such praise.
Clybourne Park is now playing at The Walter Kerr Theater on Broadway through September 2. It is frequently on the board at TKTS and also offers student tickets (2 per valid ID) when the box office opens. If you enjoy a good dramatic comedy this is the play for you.
Saturday, June 23, 2012
Jesus Christ Superstar
Andrew Lloyd Webber is the McDonald's of musical theater. We all know that it's not good, and that most of it has been ripped off from some other poor little mom and pop restaurant, yet we still leave humming the big mac. I go back and forth as to which is my favorite item on the ALW menu, and after seeing this production, for the time being at least, it's Jesus Christ Superstar.
The buoyant production now being presented at the Neil Simon Theater originated as part of the Stratford Shakespeare festival. Nobody on Broadway was really clamouring for a revival of Superstar especially considering the last revival just twelve years ago was a commercial flop. (though it did manage to eek out four weeks more of performances). This particular production, however, was much acclaimed by critics and Canadians alike, and so talk of moving it to Broadway after another pre-scheduled run at the La Jolla playhouse in CA surfaced.
Audiences and critics in CA also praised this new production, and plans were made to bring the show into New York for a spring Broadway Bow. The plot needed be discussed, but for those who are unfamiliar, it's basically The Passion of the Christ meets The Who's Tommy.
Des McAnuff's direction is wonderfully intricate. It brings out nuances in the piece that I have never seen before. You feel that each character has his own specific journey, and important part to play in this grand opera. Particular attention is paid the relationships between Jesus, Mary Magdalene, and Judas. Not that there isn't usually particular attention paid to these central characters, however, in this production something is different.
Different also is the urgency we feel right from the beginning. We get the impression right from the haunting opening electric guitar riff that things are not good in Judea, and some shit is about to go down. The opening is wonderfully choreographed by Lisa Shriver. Howell Binkley's lighting design is magnificent and Robert Brill's set design works well as both a functional set. and almost as a character in the piece. The costumes by Paul Tazewell are equally effective.
Josh Young is bringing something very special to the role of Jesus. His Tony nominated performance is a conflicted mass of Admiration, Love, Disdain, and contempt. His voice is also magnificent. As Mary Magdalene Chilina Kennedy has brought a new, post Davinci code depth to the role. All the usual layers are there, plus a bit of something else - a longing perhaps, that is deeply felt from the audience. Paul Nolan's Jesus is the only (very minor) week link. While vocally powerful, he doesn't bring nearly half the depth to his character as his costars do. Though we do see a side of Jesus that we don't often see - The rebel, the rabble rouser, the heretic. Though this is probably more due to Des McAnuf'fs sterling direction that to Mr. Nolan's performance.
The supporting cast is led strongly by Tom Hewitt as Pilate, who should have been nominated for a Tony as well for his insane rendition of Pilate's dream. Bruce Dow is funny and ferocious (in a scary way) as King Herod. For the first time during that song - I felt the danger that Jesus was in. Marcus Nance's deep basso bravura gave me chills.
This Jesus Christ Superstar is flying out of the Neil Simon Theater on Sunday July 1st, so get your tickets while you can. There are student rush tickets given out at the opening of the box office each day of performance for $28. The show is also frequently on TKTS, or if you prefer to buy in advance discounts can be found at Broadwaybox.com.
The buoyant production now being presented at the Neil Simon Theater originated as part of the Stratford Shakespeare festival. Nobody on Broadway was really clamouring for a revival of Superstar especially considering the last revival just twelve years ago was a commercial flop. (though it did manage to eek out four weeks more of performances). This particular production, however, was much acclaimed by critics and Canadians alike, and so talk of moving it to Broadway after another pre-scheduled run at the La Jolla playhouse in CA surfaced.
Audiences and critics in CA also praised this new production, and plans were made to bring the show into New York for a spring Broadway Bow. The plot needed be discussed, but for those who are unfamiliar, it's basically The Passion of the Christ meets The Who's Tommy.
Des McAnuff's direction is wonderfully intricate. It brings out nuances in the piece that I have never seen before. You feel that each character has his own specific journey, and important part to play in this grand opera. Particular attention is paid the relationships between Jesus, Mary Magdalene, and Judas. Not that there isn't usually particular attention paid to these central characters, however, in this production something is different.
Different also is the urgency we feel right from the beginning. We get the impression right from the haunting opening electric guitar riff that things are not good in Judea, and some shit is about to go down. The opening is wonderfully choreographed by Lisa Shriver. Howell Binkley's lighting design is magnificent and Robert Brill's set design works well as both a functional set. and almost as a character in the piece. The costumes by Paul Tazewell are equally effective.
Josh Young is bringing something very special to the role of Jesus. His Tony nominated performance is a conflicted mass of Admiration, Love, Disdain, and contempt. His voice is also magnificent. As Mary Magdalene Chilina Kennedy has brought a new, post Davinci code depth to the role. All the usual layers are there, plus a bit of something else - a longing perhaps, that is deeply felt from the audience. Paul Nolan's Jesus is the only (very minor) week link. While vocally powerful, he doesn't bring nearly half the depth to his character as his costars do. Though we do see a side of Jesus that we don't often see - The rebel, the rabble rouser, the heretic. Though this is probably more due to Des McAnuf'fs sterling direction that to Mr. Nolan's performance.
The supporting cast is led strongly by Tom Hewitt as Pilate, who should have been nominated for a Tony as well for his insane rendition of Pilate's dream. Bruce Dow is funny and ferocious (in a scary way) as King Herod. For the first time during that song - I felt the danger that Jesus was in. Marcus Nance's deep basso bravura gave me chills.
This Jesus Christ Superstar is flying out of the Neil Simon Theater on Sunday July 1st, so get your tickets while you can. There are student rush tickets given out at the opening of the box office each day of performance for $28. The show is also frequently on TKTS, or if you prefer to buy in advance discounts can be found at Broadwaybox.com.
Sunday, June 10, 2012
2012 Tony Awards predictions
Well folks, tonights the night. It's been a long theater season, with some wonderful highs and some tragic lows. It all comes to a head this evening as the 2012 Tony Awards air live on CBS. Who will win? Who should win? I discuss my predictions in the major categories below.
Choreography: The nominees are:
Rob Ashford: Evita
Christopher Gateli: Newsies
Stephen Hogget: Once
Kathleen Marshal: Nice Work if you can get it.
Who should win: Christopher Gatelli
Who will win: Christopher Gatelli
He's been nominated before and never won. His choreography in newsies in absolutely wonderful. In addition to just being fantastic choreography, every step perfectly enhances the emotional moments of the story. The choreography is in fact an extension of story telling. This should be his year. Never count out Kathleen Marshal though, she could score back to back Tony wins.
Director of a musical: The nominees are:
Jeff Calhoun: Newsies
Kathleen Marshal: Nice work
Dianne Paulus: Porgy and Bess
John Tiffany: Once
Who should win: Jeff Calhoun
Who will win: John Tiffany
This year seems to be a battle between what is commercially popular and what is considered to be art. The "commercial entity" is Newsies, and the "art" is Once. Now, I'm not making any statements on the quality of either piece, however, if we base things on years past (the horribly boring and bland RED winning best play, for example) art usually wins out. Jeff Calhoun doesn't always do what I would consider quality work as a director. In Newsies, however, he has succeeded in steering a ship that could have easily been sunk, and he headed it straight to Broadway. He deserves to win. Of course, Dianne Paulus over came all odds (and Stephen Sondheim) to bring a profoundly different Porgy and Bess to the great white way. She could be rewarded for her efforts.
Director of a play: The nominees are:
Nicholas Hytner: One Man, Two Govnors
Pam Makinnon: Clybourne Park
Mike Nichols: Death of a salesman
Roger Rees and Alex Timbers: Peter and the Starcatcher.
Who should win: Roger Rees and Alex Timbers
Who will win: Mike Nichols
What Roger Rees and Alex Timbers have accomplished with Peter and the Starcatcher is nothing short of amazing. The simplicity of the story telling juxtaposed with the complexity of the play are delightful to watch. Nichols, however, has received huge praise for his touching, profound, and modern yet old fashioned revival of this Arthur Miller classic. Don't count out Nicholas Hytner however, One Man Two Guvnors has been a huge success and could be rewarded for it.
Featured Actor in a Play: The Nominees Are:
Christian Borle: Peter and the Starcatcher
Michael Cumpsty: End of the Rainbow
Tom Edden: One Man, Two Guvnors
Andrew Garfield: Death of a Salesman
Jeremy Shamos: Clybourne Park
Who should win: Christian Borle
Who will win: Tom Edden
Christian Borle is giving the best performance of his career so far every night at The Brooks Atkinson theater. The comic timing as well as emotional depth he is exhibiting in Peter and The Starcatcher trancesds everything this actor has done before. Tom Edden, however, is One mans best chance at a Tony win, and voters will surely not send this popular show home empty handed. Don't count out Andrew Garfield however, for his exceptional Broadway debut performance in DOS.
Featured Actress in a play: The Nominees Are:
Linda Emond: Death of a Salesman
Spencer Kayden: Don't Dress for Dinner
Celia Keenan Bolger: Peter and the Starcatcher
Judith Light: Other Desert Cities
Condola Rashad: Stick Fly
Who should win: Judith Light
Who will win: Judith Light
This category is the only one in which it's very difficult to choose the rightful winner. Every actress in this category is giving (or gave) a formiddle performance in the role for which she is nominated. Spencer Kayden carries the entire production of Don't Dress for dinner, while Condola Rashad was heart rending in Stick Fly. Judith light, having her second back to back nomination, is giving a performance of such high magnitude in a role that is so well written that it would be shocking if she didn't win.
Featured Actor in a musical: The Nominees Are:
Philip Boykin: Porgy and Bess
Michael Cerveris: Evita
David Alan Grier: Porgy and Bess
Michael McGrath: Nice work
Josh Young: Jesus Christ Superstar
Who should win: David Alan Grier
Who will win: Michael McGrath: Nice Work
This category is the least exciting. All of the actors nominated are extremely talented, but none are giving exceptionally buzz worthy perofrmances. Michael McGrath has won all other major awards ceremonys in this category so I would expect him to continue that streak. Of all the performances, David Alan Griers is the most deserving in my opinion. Don't count out Josh Young, who did recieve early criticle praise for playing Judas in Jesus Christ Superstar.
Featured Actress in a musical: The Nominees Are:
Elizabeth A Davis: Once
Jayne Houdyshell: Follies
Judy Kaye: Nice Work
Jessie Mueller: On a Clear Day you can see forever
Da'Vine Joy Randolph: Ghost
Who should win: Jayne Houdyshell
Who will win: Judy Kaye
This, like the featured actor musical category - is pretty much a non event. Da'Vine Joy Randolph and Jessie Mueller have been given obligitory nominations so that there shows could at least have SOMETHING nominated. To be fair, Mueller was one of very few bright spots in a terrible revival. Jayne Houdyshell brought the house down every night with her utterly fantastic Broadway Baby. Judy Kaye, however, is giving an equally comic performance in a slightly larger role. Not to mention she has won every other award in this category that she has been nominated for this season. Don't count out Elizabeth A. Davis for Once though.
Leading Actor in a Play: The Nominees are:
James Corden: One Man, Two Guvnors
Phillip Seymour Hoffman: Death of a Salesman
James Earl Jones: The Best Man
Frank Langella: Man and Boy
John Lithgow: The Columnist
Who should win: Philip Seymour Hoffman
Who will win: Philip Seymour Hoffman
There are only two horses in this race. Hoffman, and James Corden. Philip Seymour Hoffman is giving what many are calling the Penultimate Willy Lohman. This is not my favorite play, however, Hoffman is absolutely astounding in it. James Corden is giving an equally remarkable performance of a different kind over at The Music Box, however I expect Hoffman to walk away with the prize at the end of the day.
Leading Actress in a play: The Nominees are:
Nina Arianda: Venus in Fur
Tracie Bennett: End of the Rainbow
Stockard Channing: Other Desert Cities
Linda Lavin: The Lyons
Cynthia Nixon: Wit
Who should win: Stockard Channing
Who will win: Tracie Bennet.
This is the hardest, yet easiest category to call. Every single actress nominated is giving a spectacular performance. Stockard Channing is giving a chilling, yet warm performance as matriarch Polly Wyeth, and her acting choices are remarkable. Her specificity is tremendous. You feel for this woman despite her nature because of Ms. Channings performance. Tracie Bennett, however, is giving the more buzz worthy performance. That's not to say that she isn't good, and there is no denying that she IS the show.
Leading actor in a musical: The nominees are:
Danny Burstein: Follies
Jeremy Jordan: Newsies
Steve Kazee: Once
Norm Lewis: Porgy and Bess
Ron Raines: Follies
Who should win: Danny Burstein
Who will win: Danny Burstein.
Every actor nominated is giving a wonderful performance. Danny Burstein is the best Buddie to have ever played the role, and therefore he must win. He is the only actor who has ever made the character work perfectly. Norm Lewis is giving too controversial a performance in Porgy and Bess to win. Jeremy Jordan will have other chances. It's Danny Bursteins year.
Leading Actress in a musical: The Nominees are.
Jan Maxwell: Follies
Audra McDonald: Porgy and Bess
Cristin Milioti: Once
Kelli O'Hara: Nice Work
Laura Osnes: Bonnie and Clyde
Who should win: Jan Maxwell
Who will win: Audra McDonald.
This was a hard one for me. Jan Maxwell was absolutely stunning as Phylis, and though she has been nominated many times she has never won. This is the best musical performance she has ever given. It almost seemed as though the role was written for her. Audra McDonald is giving the same type of performance in a larger role, in a show that is still running. I imagine that she will take home the prize.
Best Revival Play: The Nominees Are:
Death of a Salesman
The Best Man
Master Class
Wit
What should win: Master Class
What will win: Death of a Salesman
The MTC revival of Wit was one of the most profound theatrical experiences of my life and it deserves to win for it's superb culmination of all elements of theater. Death of a Salesman was equally stunning, however the cheated in using the original set design and music. It was a wonderful revival though, and I wont be upset if they win. Don't count out The Best Man, which is still running until sept and could use the boost in ticket sales.
Revival Musical: The Nominees Are:
Evita
Follies
Porgy and Bess
Jesus Christ Superstar
What should win: Follies
What will win: Follies
The Kennedy center production of Follies that played this season at the Marquis was unparalelled to any other revival that opened on Broadway this year. In my opinion it should still be running. Every theatrical element was perfect. It deserves to win.
Best Play: Clybourne Park
Other Desert Cities
Peter and the Starcatcher
Venus in Fur
What should win: Peter and the starcatcher
What will win: Clybourne Park.
Every nominated play is excellent. Peter and the starcatcher deserves to win not for it's superior writing, but for being the best over all production. Clybourne Park is equally deserving for it's direction, performance, and wonderful script. Other Desert cities could pull ahead though, and I'd be ok with that too.
Best Musical: Leap of Faith
Newsies
Nice Work if you can get it
Once
What should win: Newsies
What will win: Once.
NEwsies deserves to win because it's a better over all production. It has a wonderful (mostly) new score, fantastic direction and choreography, effective set, lighting, and costume design, and it's the most fun on Broadway. Once, however, is the more artistic choice, and it needs more help. Artists like to vote for what they consider to be art, even if it isn't very good.
So there you have it. The show is about to start to - I guess we'll see if I'm right!
Choreography: The nominees are:
Rob Ashford: Evita
Christopher Gateli: Newsies
Stephen Hogget: Once
Kathleen Marshal: Nice Work if you can get it.
Who should win: Christopher Gatelli
Who will win: Christopher Gatelli
He's been nominated before and never won. His choreography in newsies in absolutely wonderful. In addition to just being fantastic choreography, every step perfectly enhances the emotional moments of the story. The choreography is in fact an extension of story telling. This should be his year. Never count out Kathleen Marshal though, she could score back to back Tony wins.
Director of a musical: The nominees are:
Jeff Calhoun: Newsies
Kathleen Marshal: Nice work
Dianne Paulus: Porgy and Bess
John Tiffany: Once
Who should win: Jeff Calhoun
Who will win: John Tiffany
This year seems to be a battle between what is commercially popular and what is considered to be art. The "commercial entity" is Newsies, and the "art" is Once. Now, I'm not making any statements on the quality of either piece, however, if we base things on years past (the horribly boring and bland RED winning best play, for example) art usually wins out. Jeff Calhoun doesn't always do what I would consider quality work as a director. In Newsies, however, he has succeeded in steering a ship that could have easily been sunk, and he headed it straight to Broadway. He deserves to win. Of course, Dianne Paulus over came all odds (and Stephen Sondheim) to bring a profoundly different Porgy and Bess to the great white way. She could be rewarded for her efforts.
Director of a play: The nominees are:
Nicholas Hytner: One Man, Two Govnors
Pam Makinnon: Clybourne Park
Mike Nichols: Death of a salesman
Roger Rees and Alex Timbers: Peter and the Starcatcher.
Who should win: Roger Rees and Alex Timbers
Who will win: Mike Nichols
What Roger Rees and Alex Timbers have accomplished with Peter and the Starcatcher is nothing short of amazing. The simplicity of the story telling juxtaposed with the complexity of the play are delightful to watch. Nichols, however, has received huge praise for his touching, profound, and modern yet old fashioned revival of this Arthur Miller classic. Don't count out Nicholas Hytner however, One Man Two Guvnors has been a huge success and could be rewarded for it.
Featured Actor in a Play: The Nominees Are:
Christian Borle: Peter and the Starcatcher
Michael Cumpsty: End of the Rainbow
Tom Edden: One Man, Two Guvnors
Andrew Garfield: Death of a Salesman
Jeremy Shamos: Clybourne Park
Who should win: Christian Borle
Who will win: Tom Edden
Christian Borle is giving the best performance of his career so far every night at The Brooks Atkinson theater. The comic timing as well as emotional depth he is exhibiting in Peter and The Starcatcher trancesds everything this actor has done before. Tom Edden, however, is One mans best chance at a Tony win, and voters will surely not send this popular show home empty handed. Don't count out Andrew Garfield however, for his exceptional Broadway debut performance in DOS.
Featured Actress in a play: The Nominees Are:
Linda Emond: Death of a Salesman
Spencer Kayden: Don't Dress for Dinner
Celia Keenan Bolger: Peter and the Starcatcher
Judith Light: Other Desert Cities
Condola Rashad: Stick Fly
Who should win: Judith Light
Who will win: Judith Light
This category is the only one in which it's very difficult to choose the rightful winner. Every actress in this category is giving (or gave) a formiddle performance in the role for which she is nominated. Spencer Kayden carries the entire production of Don't Dress for dinner, while Condola Rashad was heart rending in Stick Fly. Judith light, having her second back to back nomination, is giving a performance of such high magnitude in a role that is so well written that it would be shocking if she didn't win.
Featured Actor in a musical: The Nominees Are:
Philip Boykin: Porgy and Bess
Michael Cerveris: Evita
David Alan Grier: Porgy and Bess
Michael McGrath: Nice work
Josh Young: Jesus Christ Superstar
Who should win: David Alan Grier
Who will win: Michael McGrath: Nice Work
This category is the least exciting. All of the actors nominated are extremely talented, but none are giving exceptionally buzz worthy perofrmances. Michael McGrath has won all other major awards ceremonys in this category so I would expect him to continue that streak. Of all the performances, David Alan Griers is the most deserving in my opinion. Don't count out Josh Young, who did recieve early criticle praise for playing Judas in Jesus Christ Superstar.
Featured Actress in a musical: The Nominees Are:
Elizabeth A Davis: Once
Jayne Houdyshell: Follies
Judy Kaye: Nice Work
Jessie Mueller: On a Clear Day you can see forever
Da'Vine Joy Randolph: Ghost
Who should win: Jayne Houdyshell
Who will win: Judy Kaye
This, like the featured actor musical category - is pretty much a non event. Da'Vine Joy Randolph and Jessie Mueller have been given obligitory nominations so that there shows could at least have SOMETHING nominated. To be fair, Mueller was one of very few bright spots in a terrible revival. Jayne Houdyshell brought the house down every night with her utterly fantastic Broadway Baby. Judy Kaye, however, is giving an equally comic performance in a slightly larger role. Not to mention she has won every other award in this category that she has been nominated for this season. Don't count out Elizabeth A. Davis for Once though.
Leading Actor in a Play: The Nominees are:
James Corden: One Man, Two Guvnors
Phillip Seymour Hoffman: Death of a Salesman
James Earl Jones: The Best Man
Frank Langella: Man and Boy
John Lithgow: The Columnist
Who should win: Philip Seymour Hoffman
Who will win: Philip Seymour Hoffman
There are only two horses in this race. Hoffman, and James Corden. Philip Seymour Hoffman is giving what many are calling the Penultimate Willy Lohman. This is not my favorite play, however, Hoffman is absolutely astounding in it. James Corden is giving an equally remarkable performance of a different kind over at The Music Box, however I expect Hoffman to walk away with the prize at the end of the day.
Leading Actress in a play: The Nominees are:
Nina Arianda: Venus in Fur
Tracie Bennett: End of the Rainbow
Stockard Channing: Other Desert Cities
Linda Lavin: The Lyons
Cynthia Nixon: Wit
Who should win: Stockard Channing
Who will win: Tracie Bennet.
This is the hardest, yet easiest category to call. Every single actress nominated is giving a spectacular performance. Stockard Channing is giving a chilling, yet warm performance as matriarch Polly Wyeth, and her acting choices are remarkable. Her specificity is tremendous. You feel for this woman despite her nature because of Ms. Channings performance. Tracie Bennett, however, is giving the more buzz worthy performance. That's not to say that she isn't good, and there is no denying that she IS the show.
Leading actor in a musical: The nominees are:
Danny Burstein: Follies
Jeremy Jordan: Newsies
Steve Kazee: Once
Norm Lewis: Porgy and Bess
Ron Raines: Follies
Who should win: Danny Burstein
Who will win: Danny Burstein.
Every actor nominated is giving a wonderful performance. Danny Burstein is the best Buddie to have ever played the role, and therefore he must win. He is the only actor who has ever made the character work perfectly. Norm Lewis is giving too controversial a performance in Porgy and Bess to win. Jeremy Jordan will have other chances. It's Danny Bursteins year.
Leading Actress in a musical: The Nominees are.
Jan Maxwell: Follies
Audra McDonald: Porgy and Bess
Cristin Milioti: Once
Kelli O'Hara: Nice Work
Laura Osnes: Bonnie and Clyde
Who should win: Jan Maxwell
Who will win: Audra McDonald.
This was a hard one for me. Jan Maxwell was absolutely stunning as Phylis, and though she has been nominated many times she has never won. This is the best musical performance she has ever given. It almost seemed as though the role was written for her. Audra McDonald is giving the same type of performance in a larger role, in a show that is still running. I imagine that she will take home the prize.
Best Revival Play: The Nominees Are:
Death of a Salesman
The Best Man
Master Class
Wit
What should win: Master Class
What will win: Death of a Salesman
The MTC revival of Wit was one of the most profound theatrical experiences of my life and it deserves to win for it's superb culmination of all elements of theater. Death of a Salesman was equally stunning, however the cheated in using the original set design and music. It was a wonderful revival though, and I wont be upset if they win. Don't count out The Best Man, which is still running until sept and could use the boost in ticket sales.
Revival Musical: The Nominees Are:
Evita
Follies
Porgy and Bess
Jesus Christ Superstar
What should win: Follies
What will win: Follies
The Kennedy center production of Follies that played this season at the Marquis was unparalelled to any other revival that opened on Broadway this year. In my opinion it should still be running. Every theatrical element was perfect. It deserves to win.
Best Play: Clybourne Park
Other Desert Cities
Peter and the Starcatcher
Venus in Fur
What should win: Peter and the starcatcher
What will win: Clybourne Park.
Every nominated play is excellent. Peter and the starcatcher deserves to win not for it's superior writing, but for being the best over all production. Clybourne Park is equally deserving for it's direction, performance, and wonderful script. Other Desert cities could pull ahead though, and I'd be ok with that too.
Best Musical: Leap of Faith
Newsies
Nice Work if you can get it
Once
What should win: Newsies
What will win: Once.
NEwsies deserves to win because it's a better over all production. It has a wonderful (mostly) new score, fantastic direction and choreography, effective set, lighting, and costume design, and it's the most fun on Broadway. Once, however, is the more artistic choice, and it needs more help. Artists like to vote for what they consider to be art, even if it isn't very good.
So there you have it. The show is about to start to - I guess we'll see if I'm right!
Saturday, June 2, 2012
Peter and the Starcatcher
There are very few stories that have captivated the world as the tale of Peter Pan. Originally produced as a play by Sir J.M.Barrie in London in 1904 (after having made a brief appearance in a novel for adults in 1902 called The little white bird). The story has been told innumerable times on Stage and Screen as well as in many editions of children's books.
Many have often wondered, how did the boy who wont grow up come to Never land? Where did fairy's come from? Why does captain hook hate Peter Pan? These questions and many more are answered in the imaginative play Peter and the Star catcher currently mesmerizing audiences young and old at The Brooks Atkinson Theater on Broadway.
The story (without spoiling it for you) concerns, pirates, sailing ships, mysterious islands, and magical matter called Star Stuff. We are introduced to Molly Aster and her father Leonard, who are sailing to the Island of Randoon. Along the way we discover the origins of the boy who wont grow up.
The play is presented as a play. We are introduced to a group of actors who admittedly are presenting a show for us. The result is a magical, whimsical, and insanely creative way of story telling. There are no wire's or trap doors. Everything is visible. The ingenuity and theatrical craftsmanship is enchanting for audience members young and old.
The cast is also brilliant. Celia Keenan Bolger is giving a remarkable performance as Mary Aster. Christian Borle is inspired as Black Stache (and could very well win the Tony Award a week from Sunday). Adam Chanler-Beret is also quite good as "Boy", if not perhaps carrying over a bit too much angst from Rent and Next to Normal.
Peter and The Starcatcher is categorized as a "play with music". It's not a musical in the sense that characters do not sing to each other, and there are very few songs. It is however, a VERY musical play. The music is also wonderful, particularly the act II opener (which I hope they get to perform at The Tony Awards).
The set, costume and lighting design should be mentioned because each one compliments the other so divinely, as well as the show. Each theatrical element is almost it's own character in the piece. The play is so neatly tied together you feel as though if one tiny detail were different you'd be seeing an entirely different show.
Peter and The Starcatcher is nominated for Best Play at The Tony Awards and it stands a very good chance of winning. The challenge for this show is going to be convincing adults that this is not just a play for children. Children will certainly enjoy the play, but adults will enjoy it equally so. It has the trans formative power to render every person in the audience a 7 year old, at least for a few hours.
Many have often wondered, how did the boy who wont grow up come to Never land? Where did fairy's come from? Why does captain hook hate Peter Pan? These questions and many more are answered in the imaginative play Peter and the Star catcher currently mesmerizing audiences young and old at The Brooks Atkinson Theater on Broadway.
The story (without spoiling it for you) concerns, pirates, sailing ships, mysterious islands, and magical matter called Star Stuff. We are introduced to Molly Aster and her father Leonard, who are sailing to the Island of Randoon. Along the way we discover the origins of the boy who wont grow up.
The play is presented as a play. We are introduced to a group of actors who admittedly are presenting a show for us. The result is a magical, whimsical, and insanely creative way of story telling. There are no wire's or trap doors. Everything is visible. The ingenuity and theatrical craftsmanship is enchanting for audience members young and old.
The cast is also brilliant. Celia Keenan Bolger is giving a remarkable performance as Mary Aster. Christian Borle is inspired as Black Stache (and could very well win the Tony Award a week from Sunday). Adam Chanler-Beret is also quite good as "Boy", if not perhaps carrying over a bit too much angst from Rent and Next to Normal.
Peter and The Starcatcher is categorized as a "play with music". It's not a musical in the sense that characters do not sing to each other, and there are very few songs. It is however, a VERY musical play. The music is also wonderful, particularly the act II opener (which I hope they get to perform at The Tony Awards).
The set, costume and lighting design should be mentioned because each one compliments the other so divinely, as well as the show. Each theatrical element is almost it's own character in the piece. The play is so neatly tied together you feel as though if one tiny detail were different you'd be seeing an entirely different show.
Peter and The Starcatcher is nominated for Best Play at The Tony Awards and it stands a very good chance of winning. The challenge for this show is going to be convincing adults that this is not just a play for children. Children will certainly enjoy the play, but adults will enjoy it equally so. It has the trans formative power to render every person in the audience a 7 year old, at least for a few hours.
Saturday, May 26, 2012
Magic/Bird
Anyone who knows me well, or even a little, knows that "sports fan" is not a word that anyone would use to describe me unless it was opposite day and we were in first grade. It might shame my Boston based family for this to be made public, but I knew nothing about Larry Bird other than that he has bushy hair, is very tall, and played for the Celtics. I knew equally as much about Magic Johnson. I didn't even know that they had ever had a "rivalry".
The play Magic/Bird would have very much benefited from an out of town production before coming to Broadway. I'm sure that the creative team would have learned a lot about the way they chose to tell this story, and may have fixed some of the obvious "kinks" in what could have been a very powerful story of friendship in the face of adversity.
Magic/Bird takes place entirely on a basketball court. Not the action of the play, but rather different locations are depicted by bringing in different small pieces to establish a bar, a farm house, a locker room etc. The back wall is also lined with screens that show video images and projections of the real men themselves. All in all it was a very theatrical and affective way to tell the story.
The real problems with this play are in the characters. The author Eric Simonson (who wrote last years better by comparison Lombardi) has failed to develop either of the main characters in way that lets the audience into who these men were, what made them dislike each other, and then what eventually drew them together.
In addition to the lack of connection to the two star players, the supporting characters in Magic/Bird are all played by one white woman, one white man, and two black men. Normally this wouldn't be a problem, however, most of the characters these actors portray are so nondescript that they all seem to blend together and it's difficult to tell who each one is playing at what time.
This is not a good play, however, it is a compelling story. For this non sports fan, it would have been so wonderful to see more of these two great athletes of our time and less of the people around them who didn't matter (random reporters, fans, TV execs etc). Also, very little time is spent on Magic Johnson discovery he is HIV positive. We see nothing of how it effected him. We see how it impacted him professionally, but nothing of the private struggle. Magics wife never makes an appearance on stage.
All is all I went in expected to not like the play, but hopeful that if I kept my expectations low perhaps I might be surprised. All I left feeling was disappointed that this story didn't get told in the way that it deserved to be. Magic/Bird closed on Broadway at The Longacre Theater on May 12 after 37 performances.
The play Magic/Bird would have very much benefited from an out of town production before coming to Broadway. I'm sure that the creative team would have learned a lot about the way they chose to tell this story, and may have fixed some of the obvious "kinks" in what could have been a very powerful story of friendship in the face of adversity.
Magic/Bird takes place entirely on a basketball court. Not the action of the play, but rather different locations are depicted by bringing in different small pieces to establish a bar, a farm house, a locker room etc. The back wall is also lined with screens that show video images and projections of the real men themselves. All in all it was a very theatrical and affective way to tell the story.
The real problems with this play are in the characters. The author Eric Simonson (who wrote last years better by comparison Lombardi) has failed to develop either of the main characters in way that lets the audience into who these men were, what made them dislike each other, and then what eventually drew them together.
In addition to the lack of connection to the two star players, the supporting characters in Magic/Bird are all played by one white woman, one white man, and two black men. Normally this wouldn't be a problem, however, most of the characters these actors portray are so nondescript that they all seem to blend together and it's difficult to tell who each one is playing at what time.
This is not a good play, however, it is a compelling story. For this non sports fan, it would have been so wonderful to see more of these two great athletes of our time and less of the people around them who didn't matter (random reporters, fans, TV execs etc). Also, very little time is spent on Magic Johnson discovery he is HIV positive. We see nothing of how it effected him. We see how it impacted him professionally, but nothing of the private struggle. Magics wife never makes an appearance on stage.
All is all I went in expected to not like the play, but hopeful that if I kept my expectations low perhaps I might be surprised. All I left feeling was disappointed that this story didn't get told in the way that it deserved to be. Magic/Bird closed on Broadway at The Longacre Theater on May 12 after 37 performances.
Monday, May 21, 2012
Gore Vidals The Best Man
Long gone are the days when presidential primaries came "down to the wire". Where at convention, candidates made speeches, fought for delegates, and had more than one round of voting to choose their parties candidate. This, however, is the plot of Gore Vidal's 1960's era play The Best Man, currently being revived (for the second time in 12 years) at The Schoenfeld Theater.
The cast is starry. James Earl Jones and Angela Landsbury are billed above the title, though their roles are small (particularly Landsburys). Mr. Jone's role is somewhat more pivotal though his stage time is scarce. The true stars of the production are Tony award winner John Laroquette (Bill Russel) and Eric McCormick (Joe Cantwell) who play rival candidates in the same political party. One is considered to be more liberal than the other, and one is considered to be more of a "celebrity politician" than the other.
The first act is somewhat dry, with not much but character exposition taking place. The "conflict" is revealed toward the end of the first act where things start to pick up. The second act is much livelier and very entertaining. It is interesting to see how little the political circus has changed since 1960.
The direction, set, costume, and lighting are fine but nothing special. The entire theater is decorated in patriotic bunting. There are also several television screens to bring you "up to the minute" news reports. The house left box has also been made up to look like a news desk set up in a hotel.
The reason to see this play is for the stars. Besides the aforementioned Landsbury, Jones, McCormick, and Laroquette, are Candace Bergen, Michael McKeon, Jefferson Mays, and Kerry Butler, all giving wonderful performances. The play was short on Tony award nominations, but it's still worth seeing. It's also packing audiences in and recently extended until the September 1st. There are student rush tickets available, as well as most of the time being available on TKTS.
This wouldn't be the first play I would send people out to see (That would be Other Desert Cities) but if you enjoy politics, and famous people, this is the show for you.
The cast is starry. James Earl Jones and Angela Landsbury are billed above the title, though their roles are small (particularly Landsburys). Mr. Jone's role is somewhat more pivotal though his stage time is scarce. The true stars of the production are Tony award winner John Laroquette (Bill Russel) and Eric McCormick (Joe Cantwell) who play rival candidates in the same political party. One is considered to be more liberal than the other, and one is considered to be more of a "celebrity politician" than the other.
The first act is somewhat dry, with not much but character exposition taking place. The "conflict" is revealed toward the end of the first act where things start to pick up. The second act is much livelier and very entertaining. It is interesting to see how little the political circus has changed since 1960.
The direction, set, costume, and lighting are fine but nothing special. The entire theater is decorated in patriotic bunting. There are also several television screens to bring you "up to the minute" news reports. The house left box has also been made up to look like a news desk set up in a hotel.
The reason to see this play is for the stars. Besides the aforementioned Landsbury, Jones, McCormick, and Laroquette, are Candace Bergen, Michael McKeon, Jefferson Mays, and Kerry Butler, all giving wonderful performances. The play was short on Tony award nominations, but it's still worth seeing. It's also packing audiences in and recently extended until the September 1st. There are student rush tickets available, as well as most of the time being available on TKTS.
This wouldn't be the first play I would send people out to see (That would be Other Desert Cities) but if you enjoy politics, and famous people, this is the show for you.
Thursday, May 17, 2012
Newsies
It might surprise some of you to know that I have never seen Disney's film musical Newsies. It was a flow when it came out in 1992 (when I was 8 years old) and though I was probably the prime audience for the film, my parents didn't take me to see it, nor do I even remember it being on my radar at the time. Over the course of the next 20 years many people have scoffed at me for having never seen the film, and it's one of those movies that I keep meaning to add to my Netflix que but never get around to actually doing it.
This past week I had the pleasure of seeing Newsies in it's new incarnation as Broadway musical, and I can say that what is happening on stage at The Nederlander Theater 8 times a week must be making the folks at Disney very happy. Not only is the production creatively successful, but it's a success with the critics (for the most part) and most definitely with the enthusiastic audiences.
Having never seen the film any changes that may have been made did not bother me in the slightest. Though I understand that there are some significant changes (such as the addition of a love interest for Jack). The score to Newsies is very good. There are rousing anthems of sticking it to the man, as well as soft and sultry ballads of far away dreams and places.
Harvey Fiersteins new book is a gem. He does a wonderful job at keeping the show fast paced without glossing over any of the important details. The only character that is underwritten is that of Joseph Pulitzer, who seems more of a cartoon character villain (think a journalistic Gargamel with the newsboys being the smurfs) than a flesh and blood character. There is also a theater owner named Medda played with aplomb by the wonderful Capathia Jenkins, but the character seems extraneous.
Newsies is by no means a perfect musical, but what is? It is my every means a wonderful evening of Broadway entertainment. The set design by Tobin Ost is not only functional, the solid steel framework that weaves in and out and serves as many a location brings forth the new dawn of the industrial revolution and the changes in the country. Jess Goldsteins costumes are less effective, but none the less do their intended job. Jeff Croiters lighting is serviceable but nothing terribly special. The direction by Jeff Calhoun is sleek and fast paced. Christopher Gattelli's choreography is energetic and entertaining, and may finally earn him a well deserved Tony award.
Everyone has been raving about Jeremy Jordan's performance and he doesn't disappoint, though at this particular performance he did seem to be a bit vocally under the weather. Kara Lindsey is making a sparkling debut as Katherine. Andrew Keenan-Bolger as Crutchie and Ben Fankhauser as Davey are particularly delightful.
Newsies just announced an open ended run at The Nederlander Theater. The Tony awards are June 10th and I suggest buying your tickets before that date, otherwise you may end up having to wait a very long time to see this fantastic show!
This past week I had the pleasure of seeing Newsies in it's new incarnation as Broadway musical, and I can say that what is happening on stage at The Nederlander Theater 8 times a week must be making the folks at Disney very happy. Not only is the production creatively successful, but it's a success with the critics (for the most part) and most definitely with the enthusiastic audiences.
Having never seen the film any changes that may have been made did not bother me in the slightest. Though I understand that there are some significant changes (such as the addition of a love interest for Jack). The score to Newsies is very good. There are rousing anthems of sticking it to the man, as well as soft and sultry ballads of far away dreams and places.
Harvey Fiersteins new book is a gem. He does a wonderful job at keeping the show fast paced without glossing over any of the important details. The only character that is underwritten is that of Joseph Pulitzer, who seems more of a cartoon character villain (think a journalistic Gargamel with the newsboys being the smurfs) than a flesh and blood character. There is also a theater owner named Medda played with aplomb by the wonderful Capathia Jenkins, but the character seems extraneous.
Newsies is by no means a perfect musical, but what is? It is my every means a wonderful evening of Broadway entertainment. The set design by Tobin Ost is not only functional, the solid steel framework that weaves in and out and serves as many a location brings forth the new dawn of the industrial revolution and the changes in the country. Jess Goldsteins costumes are less effective, but none the less do their intended job. Jeff Croiters lighting is serviceable but nothing terribly special. The direction by Jeff Calhoun is sleek and fast paced. Christopher Gattelli's choreography is energetic and entertaining, and may finally earn him a well deserved Tony award.
Everyone has been raving about Jeremy Jordan's performance and he doesn't disappoint, though at this particular performance he did seem to be a bit vocally under the weather. Kara Lindsey is making a sparkling debut as Katherine. Andrew Keenan-Bolger as Crutchie and Ben Fankhauser as Davey are particularly delightful.
Newsies just announced an open ended run at The Nederlander Theater. The Tony awards are June 10th and I suggest buying your tickets before that date, otherwise you may end up having to wait a very long time to see this fantastic show!
Thursday, April 26, 2012
Death of a Salesman
There are many plays that are worthy of reviving. There are even some plays that are worthy of reviving more than once. There are very few plays that are worth reviving five times in only 63 years. Arthur Millers Death of a Salesman is one of those rare plays that no matter how many times it is done on Broadway, audiences still seem to flock to the theater.
Part of the reason for their current flocking is the unparalleled cast assembled to inhabit the humble Brooklyn dwellings of the Lohman clan. The other, of course, is Arthur Millers wonderful play which, to modern audiences may seem dated in it's language and subject, is truly universal in it's themes.
The heart of Death of a Salesman lies in The American Dream, that which is described as "life, liberty, and the pursuit of happiness". Willy Lohman, a traveling salesmen, has been working his entire life to achieve this American Dream, and finds that at this stage of his life, he has very little to show for it. It is the want of most parents to create a better life for their children than they experienced. It is the want of most husbands to provide for their wives a decent home and a few comforts. Willy Lohman feels he has failed on all accounts.
This is the plight of many an American Citizen living amongst us today. We are constantly berated with messages of what it means to "have it good" in America. We are oppressed by our bosses, our government, and various financial obligations vying for a piece of our proverbial pie. We are all faced with that most basic of questions, "What's the point?".
In the role of Willy Lohman, Phillip Seymour Hoffman is giving a master class of a performance. Though he is at least 15 years too young to play the role, it hardly matters. This is the stuff of theatrical legend being created on the stage of the Barrymore Theater.
He is equally matched by Andrew Garfield as favorite son Biff, Linda Emond as faithful wife Linda, and Finn Wittrock as Happy. Linda Emond as Linda Lohman brings the perfect mixture of a faithful wife who longs to see her husband happy, coupled with a woman who has been on the sidelines of her husbands life and hasn't been able to live much of her own. As Biff, Garfield may at first seem to small of frame to be portraying a former football player, but soon displays a talent so large you forget how small of stature he may in fact be.
The rest of the cast, including John Glover as Ben, Bill camp as Charley, and Fran Kranz as Bernard are all equally wonderful in their roles. Mike Nichols direction is superb. His choice to recreate the original Broadway set designs by Jo Mielziner is a huge asset to the production. Mr. Nichols guides his cast perfectly though Arthur Millers minefields, though no character seems to come out unscathed.
The current revival of Death of a Salesman is currently booking through June 2nd. Due to the high demand of certain cast members, an extension is unlikely so make sure you see it while you can. There are $30 rush seats given out on the day of performance for those patrons under 30 years old. Get there at least 90 minutes before the box office opens if you want one of these tickets as the line forms early. However you see it, be sure not to miss it. To quote Linda Lohman, "Attention Must be Paid".
Part of the reason for their current flocking is the unparalleled cast assembled to inhabit the humble Brooklyn dwellings of the Lohman clan. The other, of course, is Arthur Millers wonderful play which, to modern audiences may seem dated in it's language and subject, is truly universal in it's themes.
The heart of Death of a Salesman lies in The American Dream, that which is described as "life, liberty, and the pursuit of happiness". Willy Lohman, a traveling salesmen, has been working his entire life to achieve this American Dream, and finds that at this stage of his life, he has very little to show for it. It is the want of most parents to create a better life for their children than they experienced. It is the want of most husbands to provide for their wives a decent home and a few comforts. Willy Lohman feels he has failed on all accounts.
This is the plight of many an American Citizen living amongst us today. We are constantly berated with messages of what it means to "have it good" in America. We are oppressed by our bosses, our government, and various financial obligations vying for a piece of our proverbial pie. We are all faced with that most basic of questions, "What's the point?".
In the role of Willy Lohman, Phillip Seymour Hoffman is giving a master class of a performance. Though he is at least 15 years too young to play the role, it hardly matters. This is the stuff of theatrical legend being created on the stage of the Barrymore Theater.
He is equally matched by Andrew Garfield as favorite son Biff, Linda Emond as faithful wife Linda, and Finn Wittrock as Happy. Linda Emond as Linda Lohman brings the perfect mixture of a faithful wife who longs to see her husband happy, coupled with a woman who has been on the sidelines of her husbands life and hasn't been able to live much of her own. As Biff, Garfield may at first seem to small of frame to be portraying a former football player, but soon displays a talent so large you forget how small of stature he may in fact be.
The rest of the cast, including John Glover as Ben, Bill camp as Charley, and Fran Kranz as Bernard are all equally wonderful in their roles. Mike Nichols direction is superb. His choice to recreate the original Broadway set designs by Jo Mielziner is a huge asset to the production. Mr. Nichols guides his cast perfectly though Arthur Millers minefields, though no character seems to come out unscathed.
The current revival of Death of a Salesman is currently booking through June 2nd. Due to the high demand of certain cast members, an extension is unlikely so make sure you see it while you can. There are $30 rush seats given out on the day of performance for those patrons under 30 years old. Get there at least 90 minutes before the box office opens if you want one of these tickets as the line forms early. However you see it, be sure not to miss it. To quote Linda Lohman, "Attention Must be Paid".
Thursday, April 19, 2012
Wit
There are some plays that stick with you long after you have left the theater. They ruminate in your mind and leave an indelible impression on your heart and soul. Margarete Edison's Pulitzer prize (and many other award) winning Wit is just such a play. Just as there are plays that endure, there are performances. Cynthia Nixon (Tony winner for Rabbit Hole, and Miranda on Sex and the city) gave one such a performance in the role of Vivian Bearing PhD.
As Dr. Bearing, Ms. Nixon often addresses the audience directly. From the start of the play she makes no bones about telling you that she is going to die, and that it will not be pleasant. It is this earnest frankness, and that analytical approach to examining the process of her own death, and subsequently life, which propels the play forward.
Cynthia Nixon delivers each scene with exceptional power and grace. Her ability to navigate the different points of Vivian Bearings life, from her time as a professor of literature, to her early childhood, to her time as a student of literature, is astounding. Her costume never changes. She is always clad in hospital gown and baseball cap (to hide her bald head). Yet you would swear you see her at each specific stage of her life.
The rest of the cast is fine, though they more often than not fade into the background. Greg Keller as Dr Jason Posner fares best against Nixon as the impersonal, and possibly unethical fellow studying her case. Carra Patterson as Suzie, the nurse who befriends and ultimately stands up for Vivian Bearing comes off as weak. The rest of the cast is fine.
The set design by Santo Loquasto is simple yet effective, being able to transform between a hospital room, a college lecture hall, an professors office, and Vivian's child hood living room with a simple turn of a white panel. Peter Kaczorowski's lighting design is similar in it's simplicity and equal in it's utter brilliance of being able to transform the stage by emitting soft pools of light, and darkness when needed. Lynn Meadows direction is flawless.
Wit ended it's first (limited) Broadway run at Manhattan Theater Clubs Samuel Friedman Theater on March 17th 2012. Expect Nixon (and quite possibly the production, and Lynn Meadows direction) to be nominated for a Tony award on May 1st.
As Dr. Bearing, Ms. Nixon often addresses the audience directly. From the start of the play she makes no bones about telling you that she is going to die, and that it will not be pleasant. It is this earnest frankness, and that analytical approach to examining the process of her own death, and subsequently life, which propels the play forward.
Cynthia Nixon delivers each scene with exceptional power and grace. Her ability to navigate the different points of Vivian Bearings life, from her time as a professor of literature, to her early childhood, to her time as a student of literature, is astounding. Her costume never changes. She is always clad in hospital gown and baseball cap (to hide her bald head). Yet you would swear you see her at each specific stage of her life.
The rest of the cast is fine, though they more often than not fade into the background. Greg Keller as Dr Jason Posner fares best against Nixon as the impersonal, and possibly unethical fellow studying her case. Carra Patterson as Suzie, the nurse who befriends and ultimately stands up for Vivian Bearing comes off as weak. The rest of the cast is fine.
The set design by Santo Loquasto is simple yet effective, being able to transform between a hospital room, a college lecture hall, an professors office, and Vivian's child hood living room with a simple turn of a white panel. Peter Kaczorowski's lighting design is similar in it's simplicity and equal in it's utter brilliance of being able to transform the stage by emitting soft pools of light, and darkness when needed. Lynn Meadows direction is flawless.
Wit ended it's first (limited) Broadway run at Manhattan Theater Clubs Samuel Friedman Theater on March 17th 2012. Expect Nixon (and quite possibly the production, and Lynn Meadows direction) to be nominated for a Tony award on May 1st.
Wednesday, April 11, 2012
Godspell
Prepare ye, the way of the lord! These are the familiar opening refrains of Stephen Schwartz's seminar musical theater classic Godspell. The show done by many a high school, college, community theater, regional theater, and church group. It's filled with toe tapping music that can't help but sticking in your brain. The classic show is currently getting a revival for our current times over at The Circle in the Square Theater, and all I have to say is bless the Lord my soul!
I was very wary going into the theater because (having played Jesus in an aforementioned community theater production a number of years ago) I somewhat understand the essence of what makes Godspell enjoyable for audiences (other than the great songs). It's a camaraderie between the actors and the audience. Godspell is a show that has always thrived on the creativity of it's actors. There is many a place for improvisation and ad libbing. Too often, the audience is excluded from the joke while the performers seem to be having a great time of themselves.
Happily I report this is not the case with the current Godspell. From the opening (which I have never seen performed before now) which brings new clarity to the piece, you can tell you are for something exciting. Each and every actor brings something fresh and exciting to the table.
Lead by Hunter Foster (from Weeds) as Jesus, we are presented with an energetic bunch of young people with an exuberance befitting the piece as well as this particular production. Gone are the harlequin face paint and superman shirts of old (though a slight homage is made) and in comes a Jesus that is everything you would want him to be.
Oh Bless the Lord My soul, By my side, and Beautiful City are particular standouts in this production, though every musical number is absolutely fantastic in my opinion. The book scenes are also extremely well done. Uzo Akuba is particularly wonderful in all of her scenes as is Lindsay Mendez. The only weak link for me was Judas, He seemed to be overindulging himself with the score and I didn't find anything special in his scenes either.
The set, costumes, lighting, and special effects are also brilliant. Now, some purists may think that part of what made Godspell special was it's simplicity. I understand that. But we can't just keep doing shows the way they were originally done every time we do them. We need to bring fresh perspective to them otherwise they become redundant.
This Godspell has new, fresh orchestrations that make almost every song ready for the radio (as did the original production at the time). Do not miss this production! Hunter Parish leaves on April 14th to film the 8th season of WEEDS, but the show continues on with Corbin Blue. Tickets are currently on sale through January of 2013.
I was very wary going into the theater because (having played Jesus in an aforementioned community theater production a number of years ago) I somewhat understand the essence of what makes Godspell enjoyable for audiences (other than the great songs). It's a camaraderie between the actors and the audience. Godspell is a show that has always thrived on the creativity of it's actors. There is many a place for improvisation and ad libbing. Too often, the audience is excluded from the joke while the performers seem to be having a great time of themselves.
Happily I report this is not the case with the current Godspell. From the opening (which I have never seen performed before now) which brings new clarity to the piece, you can tell you are for something exciting. Each and every actor brings something fresh and exciting to the table.
Lead by Hunter Foster (from Weeds) as Jesus, we are presented with an energetic bunch of young people with an exuberance befitting the piece as well as this particular production. Gone are the harlequin face paint and superman shirts of old (though a slight homage is made) and in comes a Jesus that is everything you would want him to be.
Oh Bless the Lord My soul, By my side, and Beautiful City are particular standouts in this production, though every musical number is absolutely fantastic in my opinion. The book scenes are also extremely well done. Uzo Akuba is particularly wonderful in all of her scenes as is Lindsay Mendez. The only weak link for me was Judas, He seemed to be overindulging himself with the score and I didn't find anything special in his scenes either.
The set, costumes, lighting, and special effects are also brilliant. Now, some purists may think that part of what made Godspell special was it's simplicity. I understand that. But we can't just keep doing shows the way they were originally done every time we do them. We need to bring fresh perspective to them otherwise they become redundant.
This Godspell has new, fresh orchestrations that make almost every song ready for the radio (as did the original production at the time). Do not miss this production! Hunter Parish leaves on April 14th to film the 8th season of WEEDS, but the show continues on with Corbin Blue. Tickets are currently on sale through January of 2013.
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