Follies

      It doesn't happen very often. I can count the number of times it has happened to me on one hand. There is a rare phenomenon in the theater, where you walk in, sit down, and the orchestra starts playing, and the walls of the theater completely melt away. The ceiling ceases to exist, the fourth wall goes down and you feel as though you are sitting up front, out of site, watching something transpire in real time. I had just such an experience while seeing the current revival of Stephen Sondheim and James Goldman's classic back stage musical Follies, now on offer at The Marquis Theater on Broadway.

    Follies takes place in an old run down theater, slated to be turned into a parking lot the next day. The cast members from the 30 years closed Wiesmann Follies have gathered for what will be their first and last reunion to celebrate the good times, and catch up on the in between. There is a central quartet of lovers, two married couples who have not seen each other since they left the Follies, and the ghosts of their younger selves still haunt the theater and their minds.

   The book and the score are absolutely fantastic. This is one of Steven Sondheim's most complex and intricate works, and each song, each melody, fits perfectly into James Goldman's superb book. The book and the score are not only strong on their own, they compliment each other perfectly.

   It's a little bit early to be talking about Tony Award nominations, but I'd say there are  six or seven to be had from the cast alone. Bernadette Peters is heartrending as Sally Durant Plummer. Her renditions of In Buddy's Eyes and Losing my mind are spine tingling. Jan Maxwell as Phyllis Rogers Stone is a complete revelation. Ron Raine's performance as Ben Stone is deep, complex, and completely on the mark. While Danny Burstein as Buddy Plummer is everything the character ought to be and more.

  The supporting cast is one heck of a bracing system. Elaine Page as Carlotta Campion, Terri White as Stella Deems, and Jane Houdyshell as Hattie Walker are particularly fabulous. The "Mirror Number" titled who's that girl brought the house to a full stop of outrageous applause, and Ms. Paige's I'm still here, emitted shouts of Brava and more than a few whistles.

   All of my readers know that I've seen a lot of Broadway shows, this has made it to the top of my list as THE BEST production of ANY show I have ever seen in my lifetime. It is absolutely tremendous and should never close in my opinion, unfortunately it's a limited engagement through January 22nd only so - don't waste a single moment, go buy tickets to what will be one of the most entertaining and meaningful experiences of your entire life!
  

Man and Boy

       When I first read the premise of Roundabout Theater Company's new production of Terrence Rattigans Man and Boy I must admit that I had very little interest in seeing it. In fact, I would say that I was not at all looking forward to it. I'm glad to say that I was pleasantly surprised to find that it is an enjoyable and thought producing piece of American Theater.

       The play centers on a young man who is trying to escape the shadow of his successful though morally ambiguous father. Though the play was written and produced in the early 60's, it resonates quite well with modern audiences. There are themes of big business, financial disparity, and beyond all that, at it's heart, it's about a father and a son.

      Frank Langella is giving a wonderful performance as Gregor Antoneskew. Adam Driver, while not quite evenly matching Mr. Langella, is doing quite well also. The supporting cast tends to be hit or miss, but each person is effective in their own way. The set, lighting, and costumes are all functional though none too impressive considering the entire play takes place in a small basement apartment in Greenwich Village.

      The issue at the heart of the play is what makes it so interesting. You have a parent who is not entirely morally correct, and he knows it. He has a son, and like all sons he thinks that his father is perfect, a hero. Father, knowing this, and also knowing that he cannot possibly live up to his sons expectations that he is in fact a good and decent man, resolves to drive his son away, which in itself can be seen as act of decency.

     Man and Boy plays at The American Airlines Theater from now until November 27th. You can get tickets on the day of performance for $25 or in advance for $22 by joining the Roundabout theaters hiptix program. It's a good night out at the theater.

How to Succeed in Business WIthout Really Trying

      How to apply for a job? How to advance from the mail room? How to look cute in a three button suit? These important questions and more are being pondered and answered over at The Al Hershfield theater where Daniel Radcliffe and John Larauquette are starring in a revival of Frank Loessers perennial classic 60's musical.

     This show has been around for decades, but if you are not familiar, it concerns a young up and comer J. Pierpont Finch, (thats F-I-N-C-H Finch) and his meteoric if problematic  rise to the top of the World Wide Wicket Company. Along the way comedy, music, and sex ensue, and a good time is had by all.

    The score to How to succeed is filled with golden eggs. Right from the opening notes of the overture your smile starts beaming because you know that you're in for a grand old time at the theater. Rob Ashford has smartly directed the piece, though he has definitely over choreographed it. Most of the funny comic numbers have been turned into dance numbers. Most of it works, and the show Succeeds, over all.

      Daniel Radcliffe is absolutely charming as Finch. His singing voice is nothing to swoon over, but he adequately sings the score. His comic timing is decent though admittedly not perfect. In the end, he is so damn adorable you can't help but root for him. Rose Hemingway sings beautifully as Rosemary, however, her characterization is misdirected in my opinion.

    John Larauquette as J.P. Bigley is ridiculously funny. His performance is genuine and realistic, which is what drives the comedy. Also, he is not afraid to be a clown. Tammy Blanchard is giving an laugh out loud performance as Hedy Larue. She isn't a singer, but it doesn't matter for this role. All the other main actors were out the night I saw this, and I did not enjoy any of the understudies performances so I'm not going to comment on them.

    Overall it's a fantastic production, and if you're in town and have are looking for something everyone in your party will enjoy, bring them to How to Succeed. Everyone will thoroughly enjoy themselves!

Anything Goes

      The S.S. American has set sail on Broadway once more with Captain Sutton Foster in the role of Reno Sweeney and despite what you're told at It's a Small World, this is the happiest cruise that ever sailed. What makes it the happiest cruise begins with those toe tapping songs by Cole Porter. These are some of the most tuneful catchy songs that were ever created for the Broadway stage. The lyrics are so clever and witty and the melodies just soar.

    As Reno Sweeney Sutton Foster is a complete revelation. There is a reason that she won a Tony Award for her performance. Her Reno is much different than say, Patti LuPone or Ethel Merman, but it's a whole and complete character. From the way she walks and talks to the way she sings, Sutton Foster is all Reno.

    The supporting cast is quite wonderful as well. Colin Donnel as Billy Crocker is handsome, playful, and funny. His voice suits the character well and his renditions of Delovely and Easy to love will make you melt. Adam Godley turns in a surprisingly hysterical performance as Lord Evelyn Oakley. As hope Harcourt Laura Osnes is everything you would want in a leading soprano without being the slightest bit bland or boring, Kelly Bishop (Tony winning Sheila from A Chorus Line) is extremely funny as Evangeline and her scenes with John McMartin as Elisha Whitney are comedic gold. Jessica Stone is highly effective as lovable vamp Erma and her Buddy Beware in act I is sexy and funny.

  That brings us to Joel Grey as Moonface Martin. I'm not going to say that what he does in the role doesn't work for the character because it does. It's a completely valid portrayal of the character, I just didn't care for it. Joel Grey is an undeniably talented individual and a legend of Broadway theater. In addition to dropping a few lines (I'm sure hardly anyone noticed, it wasn't as bad as Elaine Stritch), It's very hard to believe that this diminutive soft spoken elderly man is public enemy number anything.

 Sutton Foster is undeniably the star of the show, her co-star, is Kathleen Marshall's Tony winning Choreography. It is absolutely jaw dropping. The title song, which closes Act I, is even better on stage that it appears on TV. Reno's Act II number Blow, Gabriel Blow, is always a crowd pleaser, but in this case it is a genuine show stopper (2 full minutes of applause the performance I saw, which in a theater is a long time). The big group numbers are exquisitely choreographed, but it's the small character driven numbers where Ms. Marshall's artistry truly shines. She is able to create character specific choreography that is appropriate for both the moment, and also the style of song and the period in which it's written. Billy and Hope perform a lovely sort of fox trot during Delovely, while Lord Evelyn and Sweeney Tango during Gypsy in Me.

    Overall this revival of Anything Goes is a wonderful diamond in a sea of Broadway rhinestones. It is fun, care free, and will make you smile from the moment the overture starts until you set your head against the pillow that evening. Tickets are currently on sale through January 8th of 2012. If you get to the box office by 9:30 am on the day of the performance you want to see you can get a rush seat for $30 max two per person. It's worth the effort, and the money!

Hair

        It's the summer of love on Broadway! At least it has been since the beginning of July, and will continue to be until the 10th of September. The national touring company of the recent Broadway revival of Hair has let it's luscious locks down at The St. James theater.

       This was the third time I saw this particular production, and each time with a different cast. Even after being nearly four years old, the production still holds up extremely well. Our country is still embroiled in two wars, albeit wars that are supposedly close to their end. Hair is a period piece that makes you think about the world as we know it today. It's not just a musical, it's a movement.

      Diane Paulus's stunning direction and Carole Armitages magnetic choreography are woven together to create a beautiful tapestry of theatrical art. Equally ensconced in this tapestry are the wonderful costumes, set, and lighting design. And let's not forget all that long beautiful hair! There are a few wigs, but most of the cast is sporting their own shining, steaming, gleaming hair.

     The staging that is being seen on Broadway now is not exactly the same as what was seen at The Hershfeld theater. It has been slightly altered for middle America. The act I finale in particular has been toned down just in the slightest bit. It's still the act I finale of Hair it's just not quite as in your face as it was in New York. There have also been a few changes to the book. A bit more of the original libretto that had been previously cut has be re-instated.

   The Tribe that has taken over The St. James is absolutely a complete joy to watch. Steel Burkhart as Berger (though perhaps a little too old) and Paris Remilard bring their own spin to the two lead male roles. Paris Remilard in particular is able to inhabit both Claude's innate sense of pleasure and also his sense of morality. The juxtaposition is fantastic to watch. The women don't fare quite as well as the men, but I doubt that you would find much fault if any.

   The Broadway stop over is almost ready to move along, so if you're in New York you have one more week. This production is still scheduled to make several more stops across the USA before packing it in altogether though, so look for it coming to a theater near you!

Death Takes a Holiday

            What would happen is death walked among us in human form? What would he be like? Would the rules of life and death still apply? All of these questions and more are answered in Maury Yestons delightful new musical being presented off-Broadway until Sunday, Sept. 4th.

           Death Takes a Holiday is based on an Italian play Alberto Cosella that was subsequently rewritten  for the American stage by Walter Ferris. I'm not sure if the adaptation we're seeing is based upon the original Italian or it's American counterpart, or perhaps bits of both.

          The story concerns a well to do family living in northern Italy in 1927. Their son Roberto was killed during the war. Their daughter Grazia, we learn, has just been engaged. A near tragic car accident brings death into their midst and forever changes the course of their lives.

          Death is a very sweet and lovely musical. It's one of the best musical theater scores to come around in quite a while. The melodies are at times buoyant and up beat, and at other times luscious and sweeping. The book is equally well crafted by Thomas Mehan and Peter Stone. It is sweet and sentimental and also witty and fresh.

      The first act of Death Takes a Holiday is too long. It runs just over 90 minutes, which isn't really that long for a musical, however, it FEELS long, which means I lost interest. Part of this may have been because other than a few notable exceptions, most of the performances are extremely bland and uninteresting. Particularly Jill Paice in the lead female role of Grazia. Her singing voice is lovely, and if I were listening to the cast recording I may not find a single fault. In performance, however, she comes off as completely fake and unbelievable.

     The exception to this rule of spice less acting is Kevin Earley who plays Death. Mr. Earley was the understudy when the show opened, and took over almost immediately after opening for an ailing and never to return Julian Ovendon. You would never know it from his performance. For someone who is playing Death Kevin Early is teeming with life and vivacity, which is entirely appropriate since it's the first time Death has experienced any of the sensations he is being faced with.

     The second act of Death Takes a Holiday is much  more enjoyable as a whole. The music is fantastic, the story moves along nicely, and comes to a rich and satisfying climax. There are a few places to tighten up the script, there seems to be an endless flip flopping on the part of Death towards the end that makes the final moments not as strong as they could be. Overall it's a wonderful new musical that very well may make it to Broadway someday, though hopefully with a new director and a few new cast members.

Catch me if you can

        What did I do the night before Hurricane Irene? I took in a Broadway show of course. I've been putting this one off as long as humanely possible, because everything I've seen about this show has made me not want to see it. The clips and song performances have been terrible or mediocre at best. Word of mouth has been the same. So, needless to say I went in with the absolute lowest of expectations.

       I can now say that Catch me if  you can is one of the worst 5 Broadway Musicals I have ever seen. Let's start with what is good though. The music is actually pretty good. By music, I mean the the notes without words (The lyrics are laughable). Marc Shaiman is an extremely talented composer and he has written some wonderfully tuneful melodies for this show.
  
     The next best thing about Catch me if you can is Terrence McNallys book. It's no Master Class or Kiss of the spider woman that is for sure, but he did the best he could with what was available to him. You can tell that some of the songs were written before the book, and he was basically told "ok make these fit into the scene" and he did what he could.

     Norbert Leo Butz is doing the same thing with Agent Carl Hanratty (played memorably on film by Tom Hanks). Norbert doesn't completely erase the memory of Tom Hanks performance, but he does succeed in making you accept him in the role. Also, he does very well with his material, adding a bit of fine acting to some terrible songs.

   Tom Wopat and Kerry Butler also shine as Frank Sr. and Brenda, respectively. The rest of the supporting cast is doing their best. Where Catch me if you can fails miserably is with Frank William Abignale Jr. which is pretty disappointing considering the entire show is about him.

   From the very beginning Frank Jr. is portrayed as a thieving, conniving, womanizing playboy who just did all this for kicks and pussy, pardon my language. This makes the character exceptionally unlikeable. It does not help that his songs are the worst in the show, and that he is constantly surrounded by a bevy of long legged show girls who do not add to the plot in any way. There is very little vulnerability written into the character, which makes him seem inhuman. On top of that, as played by Aaron Tveit, the character is extremely one dimensional.

    Unfortunately this musical is based on very familiar source material. Whereas the film presented the story of a kid whose family was so torn apart that he ran away from it, and entered into a life of crime at first out of necessity, and continued because he was convinced it was the only way to save the family he held so dear, which eventually led to his capture, the musical sacrifices all of this human drama and family relationship for catchy tunes that do not fit into the story or advance the plot in any way.

   The most enjoyable moment of the show comes late in act II when Brenda is given a wonderful solo, which is preceded and followed by two very well written scenes, and the one and only good song given to Frank Jr. This 20 minutes of good musical theater comes 2 hours in and 20 minutes before the curtain comes down.

      Catch me if you can  is closing Sunday Sept 4th at The Neil Simon Theater. The same day as Master Class. The play Master Class is for more enjoyable, and far more musical than Catch me if you can. Don't waste your money on Catch me.