Theresa Rebeck is not having a very good year. First she was fired from SMASH, the Broadway inspired NBC Drama she created. Second, her new play Dead Accounts closed after only 44 performances at The Music Box theater.
Dead Accounts concerns the return of a somewhat prodigal son to his family home in Ohio. He has arrived suddenly, unannounced, without his wife (whom everyone hates) and with a lot of money for which he has no explanation. This is a classic style family drama. The play is very well written, for the most part. The part of Jack (played by Norbert Leo Butz) is the most plum. Though each of the supporting characters gets their moment to shine.
The play is very funny. Most of the humor lies in the mid western family dynamic. There are some wonderfully funny scenes between Barbra and her daughter Lorna, as well is Lorna and Jack. Norbert Leo Butz was his normal manic self in this production. Someday I'd like to see him play a really mellow dude.
Jane Houdyshell and Judy Greer were excellent in their roles of Mother and Daughter in law, respectively. Judy Greer has a wonderful comic edge that is biting and honest. Then we get to Katie Holmes, who is in her second Broadway outing. Let me say right off the bat that Katie Holmes is not a bad actress, in the sense that McDonald's doesn't make bad coffee. It's not GOOD coffee, but it's not bad coffee either.
Katie Holmes is out of her depth. She gave the kind of performance you would expect from a really good high school or college actor. She needs a few years working in summer stock or regional theater to hone her craft before truly being ready for the Broadway stage. It also doesn't help her to be surrounded by exceptional talent. It only goes to underscore how in over her head she is.
I would imagine that Dead Accounts will find life in the regional theater scene. If it comes to a theater near you I recommend seeing it. It's smart, fun, and a slice of life type of play worth watching. Though not quite as good as Ms. Rebeck's Seminar which played The Golden last season, it still had a much shorter shelf life than it deserved.
Thursday, February 28, 2013
Friday, February 22, 2013
The Mystery of Edwin Drood
I must confess that when it was announced that The Roundabout Theater Company would be producing the first revival of Rupert Holmes 1985 Best Musical Tony Award winner The Mystery of Edwin Drood I squealed with delight! The first time I had the pleasure of seeing Drood was a college production in the early 90's. Ever since I've been eagerly awaiting the time it would be ripe for revival.
The Mystery of Edwin Drood is not a convention Broadway musical. Mr. Holmes (yes the Pina Colada song guy) has decided to use the format of an evening at an English Music hall as the basis for the play. When the audiences enter the theater, they are actually entering The Music Hall Royale in London in 1896. The opening number "There you are" is performed by the members of the company of the Music Hall Royale.
Once the opening festivities have concluded, it is announced the tonight, the members of the company will be presenting for the first time, their new production of Dickens's last work The Mystery of Edwin Drood. As each character in Drood is presented, the chairman (emcee of the evening) introduces the character and gives the name of the company member playing that character. And so the "play within a play" construct is used to genius effect.
As you may or may not know, but will know within the first 10 minutes of the production, Charles Dickens was in the middle of writing Drood when he committed the one unselfish act of his entire career - he died. He left behind not a single shred of a clue as to how the mystery should be concluded. As such, when that point in the story is reached - the members of the audience get to vote on the outcome. All in all it makes for a wonderful night at the theater.
I have now had the pleasure of seeing this revival of Drood twice. If I had time I would see it a third time! The book, music, and lyrics are absolutely delightful. This is a top rate production of one of the best modern musical comedies of all time. Scott Ellis has mined each moment for comedy gold, and Warren Carlyle has created some of his best work (second only to last seasons Follies imo). The set by Anna Louizos and costumes by William Ivey Long are complement each other and the space at studio 54 wonderfully.
As the title character of Edwin Drood (Miss Alice Nutting) Stephanie J. Block is giving the best performance I've ever seen her give in a musical and deserves to be nominated for a Tony award for her performance. Why is Edwin Drood played my a woman, you ask? Back in the days of English Musical Hall, there were several women who made their names impersonating men on stage. In that tradition, we have the fictional character of Miss Alice Nutting who is famous for playing men, taking on the role of Edwin Drood.
Every other member of the company is also equally adept at their double roles. Jim Norton shines as the chairman, Chita Rivera struts her stuff, and proves that she's still got it at 80. Will Chase and Gregg Edelman are appropriately hamming it up as John Jasper/Clive Paget and The Reverend Mr. Crisparkle/ Mr. Cedric Moncreiff, respectively.
This production was not without controversy. The Mystery of Edwin Drood contains two characters, a brother and sister, who are from the British municipality of Ceylon (now Sri Lanka). In the tradition of The Music Hall Royale, these characters are played my members of the company (who are all white) with dark make up. I wouldn't call it black face, but they do look awfully tan. Many people have called out Roundabout for not casting two people of color in the roles. I can understand both points of the argument, and wont get into further in this post.
I will say, for their part, that Jessie Mueller and Andy Karl are both giving fantastic performances in their roles. I would even venture to say that if the controversy can be overcome that Ms. Mueller will be looking at her second Tony nomination in as many years.
There is only one off moment in the entire production, and that is dream or rather nightmare ballet sequence in the opium den of the princess puffer. It is awkwardly staged because three of the characters involved are not able to dance (or rather the actors portraying them). It is also mucked up by the use of set and props. This is the only (slight) off moment.
Over all this has been the best musical production of the season so far and it deserves to be nominated for many, many, awards when it comes time for nominations to be announced. Unfortunately the production has not been a box office success, though it was given rave reviews by most critics including the New York Times. It was extended until March 10th, 2013, but was not given any further extension following that date.
The Mystery of Edwin Drood is not a convention Broadway musical. Mr. Holmes (yes the Pina Colada song guy) has decided to use the format of an evening at an English Music hall as the basis for the play. When the audiences enter the theater, they are actually entering The Music Hall Royale in London in 1896. The opening number "There you are" is performed by the members of the company of the Music Hall Royale.
Once the opening festivities have concluded, it is announced the tonight, the members of the company will be presenting for the first time, their new production of Dickens's last work The Mystery of Edwin Drood. As each character in Drood is presented, the chairman (emcee of the evening) introduces the character and gives the name of the company member playing that character. And so the "play within a play" construct is used to genius effect.
As you may or may not know, but will know within the first 10 minutes of the production, Charles Dickens was in the middle of writing Drood when he committed the one unselfish act of his entire career - he died. He left behind not a single shred of a clue as to how the mystery should be concluded. As such, when that point in the story is reached - the members of the audience get to vote on the outcome. All in all it makes for a wonderful night at the theater.
I have now had the pleasure of seeing this revival of Drood twice. If I had time I would see it a third time! The book, music, and lyrics are absolutely delightful. This is a top rate production of one of the best modern musical comedies of all time. Scott Ellis has mined each moment for comedy gold, and Warren Carlyle has created some of his best work (second only to last seasons Follies imo). The set by Anna Louizos and costumes by William Ivey Long are complement each other and the space at studio 54 wonderfully.
As the title character of Edwin Drood (Miss Alice Nutting) Stephanie J. Block is giving the best performance I've ever seen her give in a musical and deserves to be nominated for a Tony award for her performance. Why is Edwin Drood played my a woman, you ask? Back in the days of English Musical Hall, there were several women who made their names impersonating men on stage. In that tradition, we have the fictional character of Miss Alice Nutting who is famous for playing men, taking on the role of Edwin Drood.
Every other member of the company is also equally adept at their double roles. Jim Norton shines as the chairman, Chita Rivera struts her stuff, and proves that she's still got it at 80. Will Chase and Gregg Edelman are appropriately hamming it up as John Jasper/Clive Paget and The Reverend Mr. Crisparkle/ Mr. Cedric Moncreiff, respectively.
This production was not without controversy. The Mystery of Edwin Drood contains two characters, a brother and sister, who are from the British municipality of Ceylon (now Sri Lanka). In the tradition of The Music Hall Royale, these characters are played my members of the company (who are all white) with dark make up. I wouldn't call it black face, but they do look awfully tan. Many people have called out Roundabout for not casting two people of color in the roles. I can understand both points of the argument, and wont get into further in this post.
I will say, for their part, that Jessie Mueller and Andy Karl are both giving fantastic performances in their roles. I would even venture to say that if the controversy can be overcome that Ms. Mueller will be looking at her second Tony nomination in as many years.
There is only one off moment in the entire production, and that is dream or rather nightmare ballet sequence in the opium den of the princess puffer. It is awkwardly staged because three of the characters involved are not able to dance (or rather the actors portraying them). It is also mucked up by the use of set and props. This is the only (slight) off moment.
Over all this has been the best musical production of the season so far and it deserves to be nominated for many, many, awards when it comes time for nominations to be announced. Unfortunately the production has not been a box office success, though it was given rave reviews by most critics including the New York Times. It was extended until March 10th, 2013, but was not given any further extension following that date.
Thursday, February 21, 2013
The Heiress
For a play to be produced on Broadway 5 times in 65 years is saying something. It's either saying, this play is very good, or this play is very important, and some times both. In the case of The Heiress it's more the former. Written by Augustus and Ruth Goetz, The Heiress is based on the novel Washington Square by Henry James. It made it's first Broadway appearance in 1947 at The Biltmore Theater (now the home of Manhattan Theater club and renamed The Friedman).
The play was made into a successful film in 1949 starring Olivia de Haviland and Montgomery Clift. Over the years the play has won 4 Oscars and 6 Tony awards. The most recent revival starred Academy Award nominee Jessica Chastain in her Broadway debut as the title character, Catherine Sloper.
The Heiress concerns plain Jane Catherine Sloper who lives the life of a spinster much to the dismay of her aging father. Catherine, who lives with her father and aunt in a mansion on Washington Square (in 1850 when people still lived in houses in New York City), is courted by dashing, handsome, and charming Morris Townsend. Catherine believes that Morris loves her for who she is, but could he be after her fortune?
The heart of the The Heiress explores parents expectations of children, and children's desire to make their parents proud of who they are. It is evident from the beginning of the play that Catherine's father places very high expectations on her, and that the crux of her problem is in the meeting of those expectations. Not only does her father seem hard on Catherine, he seems to not care for her at all. It also ponders children's expectations and needs of their parents, and how some times parents can be selfishly oblivious to what their children really need.
Catherine gets her familial love from her eccentric Aunt Lavinia, played to great effect by the fabulous Judith Ivey. Aunt Lavinia is in mourning for her husband of 30 some odd years who has just recently died. Aunt Lavinia immediately takes to Morris and supports his relationship with Catherine.
If we look deeper into the context of the play, there is also the exploration of the nature of cruelty. Is it more kind to be honest, even if that honesty is painful to give? Or is it kinder to hide the truth, or to present a more palatable one? It's a very interesting play, and most of the time it is a comedy. Though things do sober up in the second act.
Jessica Chastain is making her Broadway debut in this revival. Her performance is good, though one can almost sense that she is afraid of the live audience. Film actors tend to lose focus onstage, and Ms, Chastain is no exception, though her moments of presence far out number the moments of lost focus. She imbues Catherine with a vulnerability, hidden charm, and yearning that make the audience root for her happiness right from the start.
Ms. Chastain and Judith Ivey are joined onstage by Academy Award nominee David Strathairn as Catherine's father Dr. Austin Sloper, and Downton Abbey star Dan Stevens as Morris Townsend. Each man plays his part exceptionally well, and gives the audience exactly what they are supposed to.
The revival was directed by Tony nominee Moises Kaufman. Set Design was by Derek McLane. Costumes were designed by Albert Wolsky. Lighting design by David Lander. The set and costumes for this revival were wonderful and evocative of both the mood of the piece and the time period. Expect to see both nominated for Tony's come may. This revival of The Heiress closed on Broadway at The Walter Kerr Theater on February 9, 2013 after 27 previews and 117 regular performances.
The play was made into a successful film in 1949 starring Olivia de Haviland and Montgomery Clift. Over the years the play has won 4 Oscars and 6 Tony awards. The most recent revival starred Academy Award nominee Jessica Chastain in her Broadway debut as the title character, Catherine Sloper.
The Heiress concerns plain Jane Catherine Sloper who lives the life of a spinster much to the dismay of her aging father. Catherine, who lives with her father and aunt in a mansion on Washington Square (in 1850 when people still lived in houses in New York City), is courted by dashing, handsome, and charming Morris Townsend. Catherine believes that Morris loves her for who she is, but could he be after her fortune?
The heart of the The Heiress explores parents expectations of children, and children's desire to make their parents proud of who they are. It is evident from the beginning of the play that Catherine's father places very high expectations on her, and that the crux of her problem is in the meeting of those expectations. Not only does her father seem hard on Catherine, he seems to not care for her at all. It also ponders children's expectations and needs of their parents, and how some times parents can be selfishly oblivious to what their children really need.
Catherine gets her familial love from her eccentric Aunt Lavinia, played to great effect by the fabulous Judith Ivey. Aunt Lavinia is in mourning for her husband of 30 some odd years who has just recently died. Aunt Lavinia immediately takes to Morris and supports his relationship with Catherine.
If we look deeper into the context of the play, there is also the exploration of the nature of cruelty. Is it more kind to be honest, even if that honesty is painful to give? Or is it kinder to hide the truth, or to present a more palatable one? It's a very interesting play, and most of the time it is a comedy. Though things do sober up in the second act.
Jessica Chastain is making her Broadway debut in this revival. Her performance is good, though one can almost sense that she is afraid of the live audience. Film actors tend to lose focus onstage, and Ms, Chastain is no exception, though her moments of presence far out number the moments of lost focus. She imbues Catherine with a vulnerability, hidden charm, and yearning that make the audience root for her happiness right from the start.
Ms. Chastain and Judith Ivey are joined onstage by Academy Award nominee David Strathairn as Catherine's father Dr. Austin Sloper, and Downton Abbey star Dan Stevens as Morris Townsend. Each man plays his part exceptionally well, and gives the audience exactly what they are supposed to.
The revival was directed by Tony nominee Moises Kaufman. Set Design was by Derek McLane. Costumes were designed by Albert Wolsky. Lighting design by David Lander. The set and costumes for this revival were wonderful and evocative of both the mood of the piece and the time period. Expect to see both nominated for Tony's come may. This revival of The Heiress closed on Broadway at The Walter Kerr Theater on February 9, 2013 after 27 previews and 117 regular performances.
Wednesday, February 6, 2013
Who's Afraid of Virginia Woolf?
Who's Afraid of Virginia Woolf? is now a 50 year old period piece, however it is still as vibrant and topical as the day it was first written. Before seeing the current revival on offer at The Booth Theater, I had never been exposed to the play before. I was aware of it as a classic, and aware of the Burton/Taylor film of course, but I had never read it or seen the movie.
For those of you who are in the same boat that I was in, get yourself down to The Booth before March 3rd! If you HAVE seen the play before, or the film, GET YOURSELF down to the Booth theater before it shutters on March 3rd!
This is truly a masterpiece, and a masterful production of a masterpiece at that. What we're being given is a very naturalistic approach to the play. The actors do not seem to be intimidated or influenced at all by the famous names who have inhabited these characters before them. Each person is tailoring the skin of each character to adapt to their own.
Tracy Letts as George is truly frightening. Because he is mostly quit and subdued for the entire production, but tempers this passive regularity with moments of aggressive violence, you are left with the feeling of a man at the end of his tether who is about to snap at any moment. The feeling is truly terrifying and a joy to watch.
Amy Ryan as Martha is acerbic, sexy, witty, genuine, and painful. Martha could easily be played as a broad archetype of an unhappy housewife. Amy Ryan makes Martha so much more than that. There are layers, upon layers, upon layers to this particular Martha and you will revel in seeing each one peeled back to reveal what lies beneath.
In their supporting roles of new professor and new professors wife - Madison Dirks and Carrie Coon are able to match this George and Martha knock for knock as, respectively, Nick and Honey. Ms. Coon is likable from the start, and offers moments of surprising depth and honesty. Mr. Dirks is equally able to bring more to the character than a lesser actor might. All four actors are giving the types of performances that any person who has ever studied acting should see.
Pam MacKinnon has adeptly and smoothly directed the piece so that it flows with a fluidity that balances the tight rope between being too slick and just evenly paced perfectly. It's a long play, but due to the vibrant direction and performances - it doesn't FEEL long.
Who's Afraid of Virginia Woolf? Is an American Classic to be sure. This will certainly not be the last Broadway revival, nor the last in my life time. Though the likely hood if it being revived again, and being this close to perfection is slim. GO SEE THIS PLAY!
For those of you who are in the same boat that I was in, get yourself down to The Booth before March 3rd! If you HAVE seen the play before, or the film, GET YOURSELF down to the Booth theater before it shutters on March 3rd!
This is truly a masterpiece, and a masterful production of a masterpiece at that. What we're being given is a very naturalistic approach to the play. The actors do not seem to be intimidated or influenced at all by the famous names who have inhabited these characters before them. Each person is tailoring the skin of each character to adapt to their own.
Tracy Letts as George is truly frightening. Because he is mostly quit and subdued for the entire production, but tempers this passive regularity with moments of aggressive violence, you are left with the feeling of a man at the end of his tether who is about to snap at any moment. The feeling is truly terrifying and a joy to watch.
Amy Ryan as Martha is acerbic, sexy, witty, genuine, and painful. Martha could easily be played as a broad archetype of an unhappy housewife. Amy Ryan makes Martha so much more than that. There are layers, upon layers, upon layers to this particular Martha and you will revel in seeing each one peeled back to reveal what lies beneath.
In their supporting roles of new professor and new professors wife - Madison Dirks and Carrie Coon are able to match this George and Martha knock for knock as, respectively, Nick and Honey. Ms. Coon is likable from the start, and offers moments of surprising depth and honesty. Mr. Dirks is equally able to bring more to the character than a lesser actor might. All four actors are giving the types of performances that any person who has ever studied acting should see.
Pam MacKinnon has adeptly and smoothly directed the piece so that it flows with a fluidity that balances the tight rope between being too slick and just evenly paced perfectly. It's a long play, but due to the vibrant direction and performances - it doesn't FEEL long.
Who's Afraid of Virginia Woolf? Is an American Classic to be sure. This will certainly not be the last Broadway revival, nor the last in my life time. Though the likely hood if it being revived again, and being this close to perfection is slim. GO SEE THIS PLAY!
Wednesday, January 30, 2013
Scandalous: The life and Trials of Aimee Semple McPherson
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.
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.
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.
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