I have to admit something right from the start. I don't hate Annie. I know, I know, it's over done, and there is always some untalented 10 year old girl somewhere in the world belting out Tomorrow to the rafters. Not only do I not hate Annie I secretly actually enjoy it. There I said - I like Annie!
What isn't to like, really? The Charles Strouse and Martin Charnin score is infectious. The book by Tom Meehan is delightful. The characters are three dimensional (well, maybe two and a half), and the story is well crafted (for the most part, the ending has always bothered me). So, the question has to be asked, why is Annie so hard to get right?
The revival currently on offer over The Palace Theater has gotten a lot of things right. First of all, Lila Crawford, who plays the title character, is fantastic and giving a star making performance. She is incredibly endearing in the role, and brings a hard edge and softness at the same time which is a joy to watch. She has chemistry with everyone she interacts with onstage, and exudes charm as if it were the air she were breathing out.
Equally as wonderful is Anthony Warlow in the role of Oliver "daddy" Warbucks. He has a the necessary tough outer shell, and is a fierce presence. That outer shell is quickly melted by that lovable read headed orphan and the process unfolds neatly before our eyes and Warlow makes it easy every step of the way.
The orphans have been carefully selected to represents a cross section of the melting pot of America. They all sing and dance their little mom and dad wanting hearts out to great effect. It seems as though some of the dialogue, and some of their little idiosyncrasies have been cut (Tessie never utters a single "Oh my goodness!")
The choreography is effective if not exuberant. It's certainly not Andy Blankenbuehler's best work, but it does the job that it's intended to do. Jame's Lapine's direction is some what bland. In most places the humor is so broad that you almost feel as though you are seeing the live action version of a cartoon (technically, we ARE seeing the live action version of a cartoon, but it seems as though the characters don't realize that they are no longer, in fact, animated).
Kate Finneran is a fine actress. She is hysterical and I adore her. That being said - she is stinking up the place royally in the role of Miss Hannigan. Her portrayal is too over the top. You don't believe a word she says, she being miss Finneran and not Miss Hannigan. Also, her face is so sweet and her personality so winning that she seems to be too nice to be doing any of this.
Even more confusing is the casting of the role of Lily St. Regis. The role is being played by the very talented and funny J. Elaine Marcos. She is an Asian actress, and I applaud the producers for going non traditional and color blind for some of the roles. Unfortunately, because Lily masks as Annie's mother the whole thing falls apart in act II. The reason it falls apart is NOT because she is Asian, but because she is using an Asian (nondescript) accent in Act I and then dropping it in act II. It's funny in Act I, but then becomes confusing in Act II. It would have been better for the actress to use her normal speaking voice through the whole play.
Overall the production is lukewarm at best. The performances from Lila Crawford and Anthony Warlow are definitely worth seeing. The set and costumes are a bit disappointing. The opulence of the Warbucks estate seems to be recession era. The costumes look too much like costumes.
There is a 40 lottery for front row seats. I did this, and the night that I went (a Friday) there were more tickets than people so we all got seats. I don't recommend doing this unless you have no other option. You will spend the entire show craning your neck, and you wont see most people below the waist. Some of the shorter orphans you wont see below the neck.
In may Jane Lynch will be taking over the role of Miss Hannigan and I intend to return to see her Broadway debut. You can expect an updated blog entry when that happens.
Annie opened on Broadway at The Palace Theater on November 8 2012 and is still running as of the date of this blog entry.
Sunday, April 7, 2013
Thursday, April 4, 2013
Picnic
The Roundabout Theater company has revived William Inge's Pulitzer prize winning play Picnic on Broadway for the second time in as many decades. This production marks the fourth time the play has been done on Broadway (so far). We have been given a traditional production with not much new going on except for the casting.
Each making their Broadway debut's, Maggie Grace (Lost, and the Taken franchise) and Sebastian Stan (most recently of Once upon a Time) are giving a great effort as Madge and Hal, respectively, with not much result. The center of the play hinges in our believing that these two young people have fallen madly in love with each other in a short period of time. Both of these individuals are not bad on screen (Stan is markedly better both on screen and on stage). They have absolutely no chemistry toward each other, and it ruins the dynamic of the play from beginning to end.
Not only do these two important characters have any relation to each other, it doesn't seem as though the supporting cast are all acting in the same production of the play. Each actor is giving a fine performance, but there doesn't seem to be any cohesion, and the characters seem to be living in different worlds, orbiting around each other without belonging to the same galaxy.
Elizabeth Marvel is giving an exquisite performance as Rosemary Sydney, an older teacher renting a room from Madge's mother. Her conviction and her comedy coupled with her economy of movement is breath taking. Equally fantastic in their roles are Ellen Burstyn (who reminded me very much of my Nana), and Mare Winnigham.
This was not a bad revival of a great play. This was a mediocre revival of good play. There is some fantastic writing in Picnic and then there is some stuff that doesn't quite stand the test of time. The younger members of the cast as a whole were unable to believably sell the dated speech in a way that made you want to buy it.
Picnic closed on Broadway at The American Airlines Theater on February 24th, 2013. The production played 36 previews and 49 regular performances. Picnic was directed by Sam Gold. Set design was by Andrew Lieberman, and costumes were designed by David Zinn. The lighting design for Picnic was done by Jane Cox.
Each making their Broadway debut's, Maggie Grace (Lost, and the Taken franchise) and Sebastian Stan (most recently of Once upon a Time) are giving a great effort as Madge and Hal, respectively, with not much result. The center of the play hinges in our believing that these two young people have fallen madly in love with each other in a short period of time. Both of these individuals are not bad on screen (Stan is markedly better both on screen and on stage). They have absolutely no chemistry toward each other, and it ruins the dynamic of the play from beginning to end.
Not only do these two important characters have any relation to each other, it doesn't seem as though the supporting cast are all acting in the same production of the play. Each actor is giving a fine performance, but there doesn't seem to be any cohesion, and the characters seem to be living in different worlds, orbiting around each other without belonging to the same galaxy.
Elizabeth Marvel is giving an exquisite performance as Rosemary Sydney, an older teacher renting a room from Madge's mother. Her conviction and her comedy coupled with her economy of movement is breath taking. Equally fantastic in their roles are Ellen Burstyn (who reminded me very much of my Nana), and Mare Winnigham.
This was not a bad revival of a great play. This was a mediocre revival of good play. There is some fantastic writing in Picnic and then there is some stuff that doesn't quite stand the test of time. The younger members of the cast as a whole were unable to believably sell the dated speech in a way that made you want to buy it.
Picnic closed on Broadway at The American Airlines Theater on February 24th, 2013. The production played 36 previews and 49 regular performances. Picnic was directed by Sam Gold. Set design was by Andrew Lieberman, and costumes were designed by David Zinn. The lighting design for Picnic was done by Jane Cox.
Wednesday, March 20, 2013
The Other Place
It's still a bit too early to be sure, but I'm almost positive that I have seen what will be this years best play, this years award winner for best actress in a play, and the next stage role that Meryl Streep will play on film. In any event, Sharr White's The Other Place is a stirring drama that is both well written and thought provoking. It also packs an emotional punch sharper than a Mike Tyson Uppercut.
Laurie Metcalf plays Juliana Smithton, a Neurologist who has spent her life working on a cure for Alzheimer's. We discover from the onset that Juliana's own life is coming unhinged. Her marriage is on the rocks, her daughter has run off with an older man, and her own health is in series decline. Scene by scene, a mystery unfolds as fact and fiction blur together, past and present collide, and eventually the truth boils to the surface.
This is a very funny play. The humor is in the truth of each situation, and many of the laughs are from an awkward place. The Other Place is also the kind of play that made every one in the theater sob - loudly. The type of sobbing that is messy, personal, and usually reserved for funerals.
This production was, in my opinion, perfect. The play itself is a wonderful piece of Theater and will no doubt be performed in regional theaters across the country in the coming years. If all you know of Laurie Metcalf is her comedic work, your mind will be blown by what you see before you on that stage. While Daniel Stern originated the role of her husband, I saw his replacement Bill Pullman, who is also a wonderful stage actor in his own right.
The set design by Eugene Lee and lighting design by Edward Pierce work in perfect concert with each other to give the play a depth and make each scene flow seamlessly. Joe Mantello has done an unusually fabulous job with his direction of giving each scene, character, and the play itself the same.
The other place is not just a play, it is an experience. This particular play effected me personally in a way that most plays do not. If you're like me, you know have an older relative, or know somebody who has suffered from Alzheimer's and/or dementia. At the very least, you've seen The Notebook. These are very real issues, and very real emotions. To see them portrayed on stage, to see somebodies life be torn apart by this disease, and to see the very specific hell that is living inside of one woman's mind is both breath taking and terrifying.
The Other Place played the final performance in it's extended limited run on March 3, 2013 after 34 previews and 64 regular performances.
Laurie Metcalf plays Juliana Smithton, a Neurologist who has spent her life working on a cure for Alzheimer's. We discover from the onset that Juliana's own life is coming unhinged. Her marriage is on the rocks, her daughter has run off with an older man, and her own health is in series decline. Scene by scene, a mystery unfolds as fact and fiction blur together, past and present collide, and eventually the truth boils to the surface.
This is a very funny play. The humor is in the truth of each situation, and many of the laughs are from an awkward place. The Other Place is also the kind of play that made every one in the theater sob - loudly. The type of sobbing that is messy, personal, and usually reserved for funerals.
This production was, in my opinion, perfect. The play itself is a wonderful piece of Theater and will no doubt be performed in regional theaters across the country in the coming years. If all you know of Laurie Metcalf is her comedic work, your mind will be blown by what you see before you on that stage. While Daniel Stern originated the role of her husband, I saw his replacement Bill Pullman, who is also a wonderful stage actor in his own right.
The set design by Eugene Lee and lighting design by Edward Pierce work in perfect concert with each other to give the play a depth and make each scene flow seamlessly. Joe Mantello has done an unusually fabulous job with his direction of giving each scene, character, and the play itself the same.
The other place is not just a play, it is an experience. This particular play effected me personally in a way that most plays do not. If you're like me, you know have an older relative, or know somebody who has suffered from Alzheimer's and/or dementia. At the very least, you've seen The Notebook. These are very real issues, and very real emotions. To see them portrayed on stage, to see somebodies life be torn apart by this disease, and to see the very specific hell that is living inside of one woman's mind is both breath taking and terrifying.
The Other Place played the final performance in it's extended limited run on March 3, 2013 after 34 previews and 64 regular performances.
Wednesday, March 13, 2013
Glengarry Glen Ross
There is no denying that Glengarry Glen Ross is a masterpiece of modern American play writing. David Mamet has crafted a truly remarkable and timeless lesson of the human condition. It has played Broadway three times total including it's premiere production in 1984.
I have been lucky enough to have seen both Broadway revivals, first in 2005 and most recently in a limited run in the 2012-13 season. This most recent production of Glengarry cast Al Pacino in the role of Shelley Levine, a former top man in the Chicago real estate game who has been on a years long downward spiral and has totally bottomed out. Joining him as the young buck who is on his way to the top and riding high, Ricky Roma, is Bobby Canavale. This, I'm sure, seemed like a great idea as Al Pacino played Ricky Roma to Jack Lemon's Shelley Levine in the film adaptation of the play.
Unfortunately the production is a mess from beginning to end. The play begins in a Chinese restaurant with Shelley Levine begging his unsympathetic boss, played by David Harbour, for a good lead. The entire production is set off on a bad note because the set looks awful. I'm sure it was intended to give the impression of a cheap Chinese place on a Chicago street corner, but it comes off as looking fake. The scene itself is played almost entirely devoid of any of the laughs that Mr. Mamet has put into the heart breaking moments. Also, Mr. Pacino is pausing for dramatic affect and the pacing of the entire scene is way too slow.
The following scene, in the same run down Chinese place that you wouldn't even order take out from by the looks of it, introduces us to Dave Moss (John C. McGinley) and George Aaronow (Richard Shiff). Moss is playing for laughs, but in a buffoonish and cartoonish way that doesn't fit in with the rest of the production. This gives the scene a disconnected feeling from the one that proceeds it.
Act one ends with a short interlude between Ricky Roma and James Lingk (Jeremy Shamos) in which, sitting at separate tables, Ricky Roma launches a pitch to a perfect stranger and convinces him to buy into real estate in Florida. This scene is to give us a taste of the selling prowess that is Ricky Roma. This is the only scene in act 1 that is bearable to watch and that is because Bobby Canavale (who speaks mostly in monologue) has tempered it with the perfect amount of humor and desperation and paced it just as perfectly.
Act II is a complete jumble as all characters converge back at the office to solve a mystery of stolen leads. This production is playing the drama of the piece and letting the comedy chips fall where they may. The pacing is slow, and nearly everyone is acting a different production of Glengarry Glen Ross. The set design for the office scene is equally as drab and unexciting. Once again, surely to evoke the feeling of a cheap run down Chicago real estate office in the 1980's, but it comes across as though the producers didn't want to spend the money on decent sets.
Overall the production was a huge disappointment. It's still a wonderful play, and I'm sure many people who saw it enjoyed it. Director Daniel Sullivan usually does wonderful work. However, with this production things got out of hand. Perhaps it was the star power. I look forward to the next Broadway revival of this wonderful play, and hope that it's better than his one was.
Glengarry Glen Ross played it's final performance at The Gerald Shoenfeld on January 20th, 2013 after 48 previews and 45 regular performances (whenever a show plays more previews that regular performances it's never a good sign). The play was directed by Daniel Sullivan, set design by Eugene Lee, Costumes by Jess Goldstein, and lighting by James F. Ingalls.
I have been lucky enough to have seen both Broadway revivals, first in 2005 and most recently in a limited run in the 2012-13 season. This most recent production of Glengarry cast Al Pacino in the role of Shelley Levine, a former top man in the Chicago real estate game who has been on a years long downward spiral and has totally bottomed out. Joining him as the young buck who is on his way to the top and riding high, Ricky Roma, is Bobby Canavale. This, I'm sure, seemed like a great idea as Al Pacino played Ricky Roma to Jack Lemon's Shelley Levine in the film adaptation of the play.
Unfortunately the production is a mess from beginning to end. The play begins in a Chinese restaurant with Shelley Levine begging his unsympathetic boss, played by David Harbour, for a good lead. The entire production is set off on a bad note because the set looks awful. I'm sure it was intended to give the impression of a cheap Chinese place on a Chicago street corner, but it comes off as looking fake. The scene itself is played almost entirely devoid of any of the laughs that Mr. Mamet has put into the heart breaking moments. Also, Mr. Pacino is pausing for dramatic affect and the pacing of the entire scene is way too slow.
The following scene, in the same run down Chinese place that you wouldn't even order take out from by the looks of it, introduces us to Dave Moss (John C. McGinley) and George Aaronow (Richard Shiff). Moss is playing for laughs, but in a buffoonish and cartoonish way that doesn't fit in with the rest of the production. This gives the scene a disconnected feeling from the one that proceeds it.
Act one ends with a short interlude between Ricky Roma and James Lingk (Jeremy Shamos) in which, sitting at separate tables, Ricky Roma launches a pitch to a perfect stranger and convinces him to buy into real estate in Florida. This scene is to give us a taste of the selling prowess that is Ricky Roma. This is the only scene in act 1 that is bearable to watch and that is because Bobby Canavale (who speaks mostly in monologue) has tempered it with the perfect amount of humor and desperation and paced it just as perfectly.
Act II is a complete jumble as all characters converge back at the office to solve a mystery of stolen leads. This production is playing the drama of the piece and letting the comedy chips fall where they may. The pacing is slow, and nearly everyone is acting a different production of Glengarry Glen Ross. The set design for the office scene is equally as drab and unexciting. Once again, surely to evoke the feeling of a cheap run down Chicago real estate office in the 1980's, but it comes across as though the producers didn't want to spend the money on decent sets.
Overall the production was a huge disappointment. It's still a wonderful play, and I'm sure many people who saw it enjoyed it. Director Daniel Sullivan usually does wonderful work. However, with this production things got out of hand. Perhaps it was the star power. I look forward to the next Broadway revival of this wonderful play, and hope that it's better than his one was.
Glengarry Glen Ross played it's final performance at The Gerald Shoenfeld on January 20th, 2013 after 48 previews and 45 regular performances (whenever a show plays more previews that regular performances it's never a good sign). The play was directed by Daniel Sullivan, set design by Eugene Lee, Costumes by Jess Goldstein, and lighting by James F. Ingalls.
Saturday, March 9, 2013
Golden Boy
There are some stories that will never cease to be relevant. There are some subjects that no matter the package they are delivered in, are always going to ring true to the human spirit. Clifford Odets' 1937 family drama Golden Boy is one such story.
It's true that boxing is not the event sport that it used to be. There was a time when boxing matches sold out every night they were on, and men would listen to the fights on the radio, and later on television. Boxers were, at one time, the highest paid athletes in the country. While the wrapping of Golden Boy is about boxing, the package underneath is a story about family, a fathers love for his son, and a sons need to make his own way in the world.
Golden Boy tells the story of Joe Bonaparte, a gifted young violinist who lives in a small apartment with his Father, sister, and her husband. Joe feels a strong need to make his own way in the world, and to become a success in his own fashion. While his father wants Joe to be a musician, even if that means only just having enough to scrape by, Joe has loftier dreams of being wealthy.
Joe, it turns out, is also a very gifted prize fighter. After he starts boxing small time, he is picked up with a national promoter and becomes a welter weight sensation. He then has to choose between the career in music that he has always wanted for himself, or a career in boxing which has become newly attainable and lucrative.
This particular production of Golden Boy hit every note in this concerto beautifully. Seth Numrich is perfectly cast in the lead role of Joe Bonaparte. He is at times equally a kid and a man in pursuit of his dreams. Tony Shaloub should be getting a Tony nomination for playing Joe's Italian immigrant father. He gives Mr. Bonaparte a tender heart with a sensitive outer shell that nuanced with an apathy that most people will find relate able to their own fathers.
The rest of the cast was rounded out especially well with the always fantastic Danny Burstein as Joe's trainer Tokio, Danny Mastriogorgio as Joe's manager Mr. Moody, and Yvonne Strahovski as the forbidden love interest Lorna Moone.
This Lincoln Center produced limited run revival was directed superbly by Bartlett Sher. The set design by Michael Yeargen worked perfectly in the beautiful Belasco theater. Catherine Zuber's costume designed complimented the scenery as well as the actors wonderfully.
Despite the fact that it closed in January, I would expect (and hope) that many aspects of this production will be awarded with Tony nominations when they are announced in May. Set, Costumes, Direction, Lighting, Revival, Lead Actor, and Supporting Actor are more than well deserved in my opinion.
Golden Boy closed on Broadway at The Belasco Theater on January 20th, 2013 after 30 previews and 53 regular performances.
It's true that boxing is not the event sport that it used to be. There was a time when boxing matches sold out every night they were on, and men would listen to the fights on the radio, and later on television. Boxers were, at one time, the highest paid athletes in the country. While the wrapping of Golden Boy is about boxing, the package underneath is a story about family, a fathers love for his son, and a sons need to make his own way in the world.
Golden Boy tells the story of Joe Bonaparte, a gifted young violinist who lives in a small apartment with his Father, sister, and her husband. Joe feels a strong need to make his own way in the world, and to become a success in his own fashion. While his father wants Joe to be a musician, even if that means only just having enough to scrape by, Joe has loftier dreams of being wealthy.
Joe, it turns out, is also a very gifted prize fighter. After he starts boxing small time, he is picked up with a national promoter and becomes a welter weight sensation. He then has to choose between the career in music that he has always wanted for himself, or a career in boxing which has become newly attainable and lucrative.
This particular production of Golden Boy hit every note in this concerto beautifully. Seth Numrich is perfectly cast in the lead role of Joe Bonaparte. He is at times equally a kid and a man in pursuit of his dreams. Tony Shaloub should be getting a Tony nomination for playing Joe's Italian immigrant father. He gives Mr. Bonaparte a tender heart with a sensitive outer shell that nuanced with an apathy that most people will find relate able to their own fathers.
The rest of the cast was rounded out especially well with the always fantastic Danny Burstein as Joe's trainer Tokio, Danny Mastriogorgio as Joe's manager Mr. Moody, and Yvonne Strahovski as the forbidden love interest Lorna Moone.
This Lincoln Center produced limited run revival was directed superbly by Bartlett Sher. The set design by Michael Yeargen worked perfectly in the beautiful Belasco theater. Catherine Zuber's costume designed complimented the scenery as well as the actors wonderfully.
Despite the fact that it closed in January, I would expect (and hope) that many aspects of this production will be awarded with Tony nominations when they are announced in May. Set, Costumes, Direction, Lighting, Revival, Lead Actor, and Supporting Actor are more than well deserved in my opinion.
Golden Boy closed on Broadway at The Belasco Theater on January 20th, 2013 after 30 previews and 53 regular performances.
Thursday, February 28, 2013
Dead Accounts
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.
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.
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.
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