On November 15th 2012, a new musical about evangelist Aimee Semple McPherson opened on Broadway. It had book and lyrics by Kathie Lee Gifford, and music by David Friedman, and David Pomeranz. Having a high profile name like Kathie Lee Gifford attached (especially since she has her own publicity platform) probably made everyone involved believe the show would sell tickets. Unfortunately it didn't, so the question is - what went wrong.
This blog will contain plot spoilers so if you for some reason think that you will see this show in the future and want to be surprised, read no further. You've been warned. Most people have never heard of Aimee Semple McPherson, and that's a shame, because she was an exceptional and interesting woman. The charity that she founded in Los Angeles is still active today.
Scandalous opens on a church revival, where Sister Aimee, as she is called by her followers, is using her own story as a sermon. This type of framing device is used often in contemporary musicals (Leap of Faith used a similar device last season). The music is actually quite good. The tunes are catchy and upbeat, though mostly forgettable. What holds the entire production together is the magnificence of Carolee Carmello in the role of Aimee. Right from the start she captivates you and draws you in. When she is onstage she shines brightly.
The first half of the first act focuses heavily on Aimee's strict Christian upbringing. Her mother was, for lack of a better word, a bible-thumper. If it wasn't in the bible than Aimee was not allowed to do it. This included acting in her schools production of a Shakespearean play. Aimee does not particularly believe in God, or at the very least, doesn't truly understand God.
All of that changes when she meets a Pentecostal missionary by the name of Robert Semple whom she quickly (at least in the musical) falls in love with and marries. The trouble starts around this point. These are all important life moments for the character, and they are very quickly mentioned or glossed over. That seems to be the theme of the entire show.
Rather than being told a good story, in a clear and effective way, we are giving the readers digest version. While the performances are fantastic, most of the characters end up being Characatures of people rather than fleshed out human beings. The show would have done much better to tell less about her life as a whole and focus on one aspect of her life and tell that story well.
The creators have chosen to rush through scenes like her first husbands death, her own near death experience and sickness, the births of her children, and the death of her father. These things are all mentioned in passing, but not shown to the audience in a satisfying way. Much time is wasted on showing the glitz and glamour of Aimee's Hollywood preacher style.
The set and costumes were effective though nothing particularly special. One can't help but feel that in the hands of a more experienced director (this was David Armstrong's first Broadway outing) and producers that more changes may have been made between the Seattle out of town (In which the title of the show was Saving Aimee) and the Broadway birth.
I sincerely hope that somebody tries again to create a musical focusing on the life of Aimee Semple McPherson because she truly was a remarkable woman with a fascinating story. It's just a shame that things didn't go as well for the musical.
Scandalous played it's final performance at The Neil Simon Theater on Broadway on December 9th, 2012. I look forward to the City Centers Encores! Production in 2052.
Wednesday, January 30, 2013
Saturday, January 26, 2013
Evita
In 2006 when the West End production of Evita opened to critical and audience acclaim all eyes turned to Broadway in hopes that this stellar production would become the first New York revival of the landmark musical. It took 6 years, but it finally happened. For the first time in 30 years Evita was back on Broadway.
It took the star power of word wide pop and Latin sensation Ricky Martin to finally give the show the financial legs to walk. In the role of Che (originally played to Tony winning effect by Mandy Patinkin) he sings beautifully. His acting in certainly not bad, but nothing special either. He gesticulates in a very general way, and never gets below the surface of the character. The music is wonderful though.
In her Broadway debut, and recreating the role that made her a sensation in the UK is Argentinian actress Elena Roger. Let's get this out of way immediately. Ms. Roger cannot hit the high notes. She doesn't have them, and it's not pretty. She squeaks by on the cast album, but let's face it, the role has been sung better many times before. For the most part, it does not detract from the evening, though I suppose that depends on how much emphasis you put on singing and whether a brilliant acting performance can make you forgive the high notes, or lack of them.
Ms. Roger DOES give a wonderful physical performance of Eva Peron. Her acting choices are marvelous, and she takes us through Eva's different stages of life and ambition with great ease and likability. Eva is a character that is very easy not to like. Ms. Roger does make us root for her, and there was many a teary eye in the house during her final moments.
The supporting cast, led by the always top notch Michael Cerveris as Juan Peron, is a mixed bag. Michel Cerveris shines as always as Juan Peron. I doubt there could ever be a time that anyone could say a negative word about any of his performances. Peron has the tendency to come off as an afterthought, but Michael Cerveris make the most of the character.
Max Von Essen as Magaldi was very off the night I saw him. He was off pitch for most of his songs. His acting was fine. Rachel Potter was lovely as the kicked out on her tush mistress, though for the life of me I'll never understand why a character onstage for 3 minutes has such a lovely song and is then never heard from again. One of the great mysteries of the theater I guess!
The physical production was, for the most part, beautifully staged. Rob Ashford's choreography was the best of the bunch. Tinged with Argentine Tango and other cultural dances, it brought a vibrancy to the production that was otherwise lacking. The set and lighting design made the rest of the production look rather drab. We know it ends tragically, but does it have to be framed that way from the beginning? The costumes were absolutely beautiful. Eva's Casa Rosada dress was stunning.
Overall I would say that the production was a success, however, it did not appear fresh or vibrant in any way. Hopefully it will not be another 30 years before Evita is back on Broadway, where she belongs! This Evita packing up her suitcase and leaving the halls of the Marquis Theater on January 26th, 2013.
Wednesday, January 16, 2013
Cyrano De Bergerac
The story is familiar, and has been told in many forms for hundreds of years. The universal tale of unrequited love. There is so much more to Cyrano than what we think we may know. The recent Broadway Revival by the Roundabout Theater Company has a fresh translation of the original Edmond Rostand text by Ranjit Bolt. The new translation is bold, energetic, and breathes new life into a familiar tale.
Cyrano has been seen on Broadway in many incarnations as both play and musical. The most recent was a revival that starred Kevin Kline in the title role and Jennifer Garner as Roxanne. Here we have Tony Award winner Douglas Hodge (La Cage Aux Folles) Clemence Poesy (Fluer in the Harry Potter films) as the unhappy pair.
Jamie Lloyd has given superb direction. There is never a dull moment, the action flows seamlessly and fluidly without giving the audience time to be bored. This is due in large part to the unit set designed by Soutra Gilmore (Into the Woods) which easily changes from one scene to the next in seconds.
The supporting cast including Tony nominee Patrick Page (Spider man) as the villainish Comte de Guiche and Kyle Soller as the dashing though unintelligent Christian all shines quite brightly and delivers the play as it was originally intended to be, an energetic romantic comedy.
The star of the show of course, is Douglas Hodge. He makes his entrance in the house, in ever corner of the house. He begins in the rear orchestra, and climbs his way up to the mezzanine, taunting those onstage as he does so. He finishes back in the orchestra before climbing up onto the stage (without stairs) and never seems to lose his breath. Nor does he through the entire play. Mr. Hodge goes instantaneously from being uproariously hysterical to quite and heart breaking at the drop of a hat. His performance is the stuff that all great actors aspire to. I said it when I saw the show, and now that the season is further along I'll say it again; he's going to win another Tony Award.
Cyrano de Bergerac ends tragically of course, with Roxanne finding out the truth all too late to do anything about it. This particular Cyrano highlights the folly of youth, the fleetingness of outer appearances, and the importance of the human soul in matters of the heart. It's a beautiful play and a wonderful production. It closed out it's limited engagement at The American Airlines Theater on November 25, 2012 after 52 performances.
Cyrano has been seen on Broadway in many incarnations as both play and musical. The most recent was a revival that starred Kevin Kline in the title role and Jennifer Garner as Roxanne. Here we have Tony Award winner Douglas Hodge (La Cage Aux Folles) Clemence Poesy (Fluer in the Harry Potter films) as the unhappy pair.
Jamie Lloyd has given superb direction. There is never a dull moment, the action flows seamlessly and fluidly without giving the audience time to be bored. This is due in large part to the unit set designed by Soutra Gilmore (Into the Woods) which easily changes from one scene to the next in seconds.
The supporting cast including Tony nominee Patrick Page (Spider man) as the villainish Comte de Guiche and Kyle Soller as the dashing though unintelligent Christian all shines quite brightly and delivers the play as it was originally intended to be, an energetic romantic comedy.
The star of the show of course, is Douglas Hodge. He makes his entrance in the house, in ever corner of the house. He begins in the rear orchestra, and climbs his way up to the mezzanine, taunting those onstage as he does so. He finishes back in the orchestra before climbing up onto the stage (without stairs) and never seems to lose his breath. Nor does he through the entire play. Mr. Hodge goes instantaneously from being uproariously hysterical to quite and heart breaking at the drop of a hat. His performance is the stuff that all great actors aspire to. I said it when I saw the show, and now that the season is further along I'll say it again; he's going to win another Tony Award.
Cyrano de Bergerac ends tragically of course, with Roxanne finding out the truth all too late to do anything about it. This particular Cyrano highlights the folly of youth, the fleetingness of outer appearances, and the importance of the human soul in matters of the heart. It's a beautiful play and a wonderful production. It closed out it's limited engagement at The American Airlines Theater on November 25, 2012 after 52 performances.
Friday, January 11, 2013
Grace
Whether or not we believe in God, we all have some amount of faith inside of us. Most of us, in our childhoods at least, are brought to church, and introduced to an organized religion of some kind through our parents or grandparents. It's clear from his new play Grace that playwright Craig Wright doesn't have much good to say about organized religion of any kind.
What is meant to be a poignant study of faith and redemption is marred by what I can only assume is an unintentional bout of in-authenticity. Grace neither poorly, nor extremely well written. It's themes are grand, but it's details are overtly simplistic in an unflattering way.
The play begins at the end. We know how these characters end up before we see anything of how they got there. Since all is revealed in the first 10 seconds it spoils nothing to tell you that the three main characters all die in what is both the beginning and the end. After their tragic death, things return to "the beginning" and we are shown exactly how these people got from point A to point dead.
Most of the action focuses on Steve and Sarah, a couple from the northern mid-west who has now relocated to FL to follow the path they believe that God has laid out for them. That path includes Steve opening a chain of gospel themed hotels. When his main investor seems to be having second thoughts, Steve tries to charm some money out of his next door neighbor Sam who has just been in a major accident that has left his fiance dead and his face scarred for life.
All three characters become entangled in each others lives both personally and professionally. Also making an appearance is a German holocaust survivor named George. George is the kind of character who seems insignificant, and who should have remained insignificant.
The play is full of coincidences and religious cliche's abound. Each of these characters has a beef with God for one reason or another, and each of them must come to terms with said beef before the end of the play.
Grace was not a bad play. It flows at a rather rapid pace and comes in just over 90 minutes in length. It was certainly not without error, and it did give a lot to think about and a lot to discuss after seeing. Part of the problem may have been in performances. Steve and Sarah are both born again Christians, but each time they call upon the name of the Lord it gave you that aforementioned lack of authenticity. I don't believe that it was the intent of the author for these characters faith to seem ingenuous or forced (at least not at the beginning).
Grace closed it's limited run at The Cort Theater on Sunday January 6th, 2013. This is one of only 5 new plays to have opened so far this season, and the only one to finish out it's entire scheduled run of performances. Though it's box office was not strong enough to prompt an extension. This play is certainly worth seeing, and due to the youngish nature of the characters I expect productions to crop up on the more liberal college campuses and regional theaters.
What is meant to be a poignant study of faith and redemption is marred by what I can only assume is an unintentional bout of in-authenticity. Grace neither poorly, nor extremely well written. It's themes are grand, but it's details are overtly simplistic in an unflattering way.
The play begins at the end. We know how these characters end up before we see anything of how they got there. Since all is revealed in the first 10 seconds it spoils nothing to tell you that the three main characters all die in what is both the beginning and the end. After their tragic death, things return to "the beginning" and we are shown exactly how these people got from point A to point dead.
Most of the action focuses on Steve and Sarah, a couple from the northern mid-west who has now relocated to FL to follow the path they believe that God has laid out for them. That path includes Steve opening a chain of gospel themed hotels. When his main investor seems to be having second thoughts, Steve tries to charm some money out of his next door neighbor Sam who has just been in a major accident that has left his fiance dead and his face scarred for life.
All three characters become entangled in each others lives both personally and professionally. Also making an appearance is a German holocaust survivor named George. George is the kind of character who seems insignificant, and who should have remained insignificant.
The play is full of coincidences and religious cliche's abound. Each of these characters has a beef with God for one reason or another, and each of them must come to terms with said beef before the end of the play.
Grace was not a bad play. It flows at a rather rapid pace and comes in just over 90 minutes in length. It was certainly not without error, and it did give a lot to think about and a lot to discuss after seeing. Part of the problem may have been in performances. Steve and Sarah are both born again Christians, but each time they call upon the name of the Lord it gave you that aforementioned lack of authenticity. I don't believe that it was the intent of the author for these characters faith to seem ingenuous or forced (at least not at the beginning).
Grace closed it's limited run at The Cort Theater on Sunday January 6th, 2013. This is one of only 5 new plays to have opened so far this season, and the only one to finish out it's entire scheduled run of performances. Though it's box office was not strong enough to prompt an extension. This play is certainly worth seeing, and due to the youngish nature of the characters I expect productions to crop up on the more liberal college campuses and regional theaters.
Tuesday, January 8, 2013
War Horse
Happy New Year fellow theater lovers! It's been a long time since I have written. The end of 2012 was a bit tough personally, but I'm looking ahead at what I hope to be a great 2013! The 2011 Tony award winner for best play, War Horse closed on Broadway this past weekend. It may surprise some, (though not if you really know me) that I only just saw this show three days before it closed.
Having not seen the original Broadway cast, the following opinion is based on what I did see. The play recounts the drama of a riding horse named Joey as he journeys from a young foal on a farm to the battle fields of France. I should also say that I have never read the book, or seen the Spielberg film.
Much talk has been made about the life sized horse puppets. This three actor operations are truly astounding feats of theatrical genius. Though each actor is visible the entire time they are making the horse puppets move, they are so good at what they do that they might as well be invisible. Each horse is given a personality which makes it very easy for the audience to be drawn in to the character of each of these creatures and to care about them. The journey of these magnificent beasts is the journey of the play.
I wish I could say the same for the human characters that the horses interact with. The play runs nearly two and a half hours long. In that span of time, the horse has several significant human relationships. The first and foremost is with the boy who raises him, Albert Narracott.
When Joey gets sold off to the British Army as a cavalry horse, Albert lies about his age to join up so that he can find Joey and bring him safely home. Through many dangers, toils, and snares, do Joey and Albert go (separately) before they are at last allowed to find each other again. Along the way they each make new friends and experience tragic loss.
The story is actually really good. It's just not particularly well adapted to the stage. A lovely device of using a songstress and musicians on stage (weaving physically in and out of scenes, rather than seated) is genius and adds to the depth of the piece. Additionally, the set, costumes, lighting, and projection are all used to wonderful effect.
The script lags at times, and rather than focusing on the relationships between the characters that we recognize and care about, the story often shifts to new characters or characters we don't really need to see. Also, the search for Joey and eventual reuniting take too long and become tedious by the time it actually happens.
That being said, this is a truly beautiful production and work of art in the highest sense. I wouldn't say that it was the best play of the season that it premiered in, but it was certainly the biggest risk, the most artistic production, and therefore worthy of the prize.
I wont speak of the performances as the show has closed and if you see it on the road you're not likely to see the same actors. I will say that the entire play hinges on the relationship between Joey and Albert. If the actor playing Albert is not able to make you like him as much as you like the horse, you're in for a long evening.
Having not seen the original Broadway cast, the following opinion is based on what I did see. The play recounts the drama of a riding horse named Joey as he journeys from a young foal on a farm to the battle fields of France. I should also say that I have never read the book, or seen the Spielberg film.
Much talk has been made about the life sized horse puppets. This three actor operations are truly astounding feats of theatrical genius. Though each actor is visible the entire time they are making the horse puppets move, they are so good at what they do that they might as well be invisible. Each horse is given a personality which makes it very easy for the audience to be drawn in to the character of each of these creatures and to care about them. The journey of these magnificent beasts is the journey of the play.
I wish I could say the same for the human characters that the horses interact with. The play runs nearly two and a half hours long. In that span of time, the horse has several significant human relationships. The first and foremost is with the boy who raises him, Albert Narracott.
When Joey gets sold off to the British Army as a cavalry horse, Albert lies about his age to join up so that he can find Joey and bring him safely home. Through many dangers, toils, and snares, do Joey and Albert go (separately) before they are at last allowed to find each other again. Along the way they each make new friends and experience tragic loss.
The story is actually really good. It's just not particularly well adapted to the stage. A lovely device of using a songstress and musicians on stage (weaving physically in and out of scenes, rather than seated) is genius and adds to the depth of the piece. Additionally, the set, costumes, lighting, and projection are all used to wonderful effect.
The script lags at times, and rather than focusing on the relationships between the characters that we recognize and care about, the story often shifts to new characters or characters we don't really need to see. Also, the search for Joey and eventual reuniting take too long and become tedious by the time it actually happens.
That being said, this is a truly beautiful production and work of art in the highest sense. I wouldn't say that it was the best play of the season that it premiered in, but it was certainly the biggest risk, the most artistic production, and therefore worthy of the prize.
I wont speak of the performances as the show has closed and if you see it on the road you're not likely to see the same actors. I will say that the entire play hinges on the relationship between Joey and Albert. If the actor playing Albert is not able to make you like him as much as you like the horse, you're in for a long evening.
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