Sondheim on Sondheim

"Sondheim on Sondheim" presented by Roundabout Theatre Company at Studio 54, April 3, 2010

In a continuing year of celebration of Stephen Sondheim's 80th birthday, the Roundabout presents a new revue of his life and works.  Frequent collaborator James Lapine conceived and directed the event, including songs from his earliest to the most recent efforts, combined with a series of recorded video clips of various interviews with the man himself.

Mr. Lapine has assembled an attractive, if uneven, cast for the show, including Barbara Cook in her first extended Broadway run in almost 30 years.  Vanessa Williams also returns to the boards, along with Tom Wopat, Euan Morton, Leslie Kritzer, Norm Lewis, Erin Mackey and Matthew Scott.

The songs are wide-ranging, covering stage and television musicals from 1946 By George, written while a student at the George School, to 2008's Road Show.  The early work reflects the period, at times Porter-esque, though Oscar Hammerstein was as much a father figure as he was a mentor and teacher.  There are also a couple of numbers that were written and cut, including "Smile Girls, Smile" from Gypsy, "Invocation/Forget War" and "Love Is in the Air" from ...Forum and "My Husband the Pig" from A Little Night Music.  ("Invocation" turned up later in The Frogs, which was otherwise unrepresented during the evening.) 

Performance-wise, this is Ms. Williams' evening.  Nearing the painful beauty of Catherine Zeta Jones, her impeccable presence captivates the audience.  Ms. Cook, frail, but in fine voice comes in a close second, reminding the audience of her unmatched skill as a singing actress.  Mr. Wopat, however, is only occasionally serviceable. His discomfort, most particularly in "Soliloquy" from Sweeney Todd is painful to watch. The other songs are better, but not by much.  It's Mr. Morton who stands out among the supporting performers.  He finds interesting and distinct characterizations, notably in the Merrily We Roll Along sequence.  Mr. Lewis sings well, though comes off a little bland.  Ms. Kritzer also finds a few nice moments, but felt a little restrained as Mary Jane Moore in the Assassins segment.

Mr. Lapine's compilation of songs are interesting, even puzzling at times.  The materials is good, but I think there have been better arranged revues of Mr. Sondheim's work.  His direction is simple and elegant, though Beowulf Boritt's set pushes Dan Knechteges' musical staging toward the awkward on occasion.

Sondheim on Sondheim runs through June 13.

Pal Joey

"Pal Joey" presented by Roundabout Theatre Company at Studio 54, December 2, 2008

In its first Broadway revival since 1976, the Roundabout has assembled a fairly impressive cast and creative team of the Rodgers and Hart classic. With a new book by Richard Greenberg (who either left much of Mr. Hart's original zingers, or significantly studied up on his Noel Coward) the story has been streamlined a bit (farewell Melba Snyder), maintaining the sophistication that is the hallmark of Rodgers and Hart. I did question the new subplot for Mike, the club manager (Robert Clohessy), though it works overall.

As Joey, Peggy Sawyer Matthew Risch has leapt from the chorus to land above the title, replacing Christian Hoff. (Mr. Hoff withdrew as the result of a "foot injury.") Mr. Risch, dark and handsome, is a talented dancer and acquits himself well in the book scenes. Stockard Channing returns to Broadway for the first time since 1999's revival of "Lion In Winter" (also courtesy of the Roundabout). Her Vera is classy, though a bit breathless in song (perhaps she's strapped in a bit too tightly in William Ivey Long's gorgeous gowns?).

For me, it's Martha Plimpton who steals the show as Gladys Bumps. Mr. Greenberg's rewrite has tossed "Zip" her way in Act II - who knew she could sing? She's well on her way to a Bea Arthur-baritone. I can't wait to see what she'll do next.

Ms. Plimpton and Ms. Channing both owe a debt to Graciela Danielle for choreography that swirls the company around each (a la Faith Prince in "Guys and Dolls"). The choreography is excellent overall, but the ballet ending Act I did feel a bit creaky from time to time. Paul Gemignani maintains his standard of excellence with the 16 piece orchestra, though there were times when singers suffered as a result, particularly Mr. Risch and Jenny Fellner as Linda English.

Scott Pask's creative set did feel either a bit over designed or underused. The El train scaffold begged for more attention than just to create extra shadows in Paul Gallo's excellent lighting.

Mr. Mantello should be proud of his work here, creatively staged with fine performances from all.

UPDATE: John Lahr offers a nice analysis with some valuable comparisons between the original book by John O'Hara and the new book by Richard Greenberg. Check it out here.

Pointillism to Pixellism

"Sunday in the Park with George" presented by the Roundabout Theatre Company at Studio 54, January 31, 2008

I'm a huge Sondheim fan, not rabid, but huge. My first personal encounter with his genius was when I performed in a production of Sweeney Todd at Workshop Theatre (SC) in 1984. (Our musical director described the score as "Puccini by Stravinsky") I've been hooked on his work ever since. One show, however, has troubled me - Sunday in the Park with George. I did not see the OBC live, but did see the recorded show with Mandy Pantinkin and Bernadette Peters.

I loved the first act - true to the period but with a slight nod to contemporary sensibility, strongly centered in a one-two punch of James Lapine book and Stephen Sondheim score.

Then there was Act II.

What a mess! From the random jump in period to the ill-conceived reincarnation of George as pretentious artist/inventor/poseur to the creepy love duet between grandmother and grandson, let's just say it didn't work for me. There were other issues, too, such as the "Chromalume" machine that neither persuaded nor cajoled any connection to Act I.

And now, The Menier Chocolate Factory has teamed with the Roundabout to bring their acclaimed revival from London back to NYC and stars Daniel Evans and Jenna Russell along with it.

The projection design by Timothy Bird & The Knifedge Creative Network has done what The Woman in White could not: clever, effective and interesting melding of images on David Farley's white-washed and white-draped garret/gallery sets (instead of the theme-park ride audiences suffered through at the Marquis Theatre). The build of the story is literally sketched out across the walls of the set as George (Daniel Evans) develops his revolutionary artistic style called Pointillism, creating images by using very small points of basic colors (seven, I believe) to trick the eye into combining those colors into much more vibrant colors. His model and lover, the aptly named Dot (Jenna Russell) is devoted to George, but frustrated that he is more devoted to his work than he is to her. When she finds herself pregnant, she turns to Louis the baker (Drew McVety), soon hired by American tourists, who moves his new family to America, leaving George forever.

Act II is set 100 years later in an American museum where Dot's great-grandson, George (also Mr. Evans), is presenting the 7th in his series of art/light inventions, the Chromalume. With him is his grandmother Marie (also Ms. Russell), Dot's (and George's) child. She is part of his presentation in honor the 100th anniversary of his grandfather's painting, "A Sunday Afternoon on the Island of La Grande Jatte." They share the introductory comments, reading from prepared cards. Marie, at 100, missed cues and attempts various tangents, but is thoughtfully reigned in by George and his ex-wife Elaine (Brynn O'Malley in the most thankless role in the show.) George travels to France to display the Chromalume on the Island where the painting was set. Mishaps occur with the museum premiere, impacting George's fund raising efforts to continue his art. As he strolls the island, there is the afore-mentioned creepy meeting of young George and Dot. She sings to him as if he is his grandfather, encouraging him to "Move On." I almost thought she was going to kiss him on the mouth at one point - ew!

Enough of my vivisection of Act II. Let's talk about the performances.

As Act I George, Mr. Evans seems to have totally retreated into George's palette, serving only as the brush holder to create the pointillist work of Seurat. We do get an occasional bark in character, emphasizing that his art is and always will be first in his life. He's all business, and any sense of loss when Dot leaves him never comes through, never the first sign of regret or inner turmoil over this choice. His Act II George is much more vulnerable and child-like, almost to the point that I wondered if Mr. Evans were interpreting him as a gay man. His relationship with Marie was quite tender and his struggle with "The Art of Making Art" is well-communicated.

Ms. Russell is more successful as both Dot and Marie. Her Dot is lovely and delicious, uneducated but wanting more for both her and George's life. She soon realizes that George is incapable of returning her feelings even though she knows his feelings are there. She is still practical, realizing that marrying Louis is her only chance to get the life of not-struggling that she would have with George. As Marie, she does a little better in the southern accent required of a woman who grew up in Charleston, SC than the ladies of Crimes of the Heart, but it's still shaky on occasion. Her Marie is still feisty, and will make her point, whether it's related to the topic at hand or not.

Supporting roles are ably handled with notice to Michael Cumpsty as George's more successful painter friend, Jules, in the first act though a bit wasted in his roles overall. Mary Beth Peil does her best to rise above the memory of Barbara Byrne as the Old Lady and for the most part, succeeds.

Director Sam Buntrock has done marvelous work here, combining the technical with the artistic to terrific results. One moment I found particularly touching was when George was arranging the cast for the tableau of his painting. He moves Louis away from Dot, pairing her with Jules, someone he trusts. He then takes the baby ever so tenderly from Dot's arms and gives her to Louis. Even from near the back of the house, I could see the subtext in Mr. Evans' face, giving his child to be raised by someone else, knowing it's the right choice. He does make some advances with the troubling Act II. In "Putting It Together" when George is learning the politics and "art of making art" he uses the projections to good use, multiplying images of George around the stage in conversations with various characters and groups, and on occasion, George himself. Mr. Buntrock does seem equally stunted by Act II with characters such as George's ex-wife Elaine (Why is she there - just to push Dot around in her wheelchair?) and brings no illumination in that sense.

Mr. Farley's costumes are serviceable, tying nicely back to the painting in Act I, and undistracting in Act II.

It's a lovely show, nicely performed with a beautiful score (for the most part). Thanks to the Roundabout for bringing it to us.

Anything Goes

"The Ritz" presented by Roundabout Theatre Company at Studio 54, September 18, 2007

One of Terrance McNally's earlier plays, I'm sure it was quite shocking in 1975. With the evolution of cable TV, the shock value is seriously lacking anymore.

The premise is that Gaetano Proclo's father-in-law has made a deathbed order to have Gaetano killed. Gaetano jumps in a cab and asks to be taken to the last place anyone would look for him, which turns out to be a bathhouse, The Ritz.

Eccentric homosexuals, twinky boyfriends, chubby chasers and leathermen abound as the farce evolves. Even a bizarre musical sequence sung by the unintelligible Rosie Perez as Googie Gomez, while entertaining, doesn't raise us beyond the level of early HBO attempts at a TV series.

Kevin Chamberlain's Gaetano comes across a little too passive about the threat to his life from the outset. He never seems particularly resistant to, or shocked by much beyond the chubby chaser who takes a shine to him.

Brooks Ashmanskas has an absolute blast as he tries to push every line and gesture further and further over the top as Chris, the bathhouse regular who realizes that Gaetano is a little more than out of his element.

As Googie Gomez, the no-talent Puerto Rican with dreams of a Broadway career, Rosie Perez completely unintelligible. It was 20 minutes after her first entrance that I could understand anything she said. It's too bad, too. I'm sure she had some pretty good lines that got away. She did have a grand time, like Mr. Ashmanskas, and is pretty fearless as a performer. In one scene where she thinks Gaetano is a Broadway producer, watching her try to climb him like a greased mountain was pretty funny.

The play must have been revised since its opening in 1975, since one of the songs (in one of the most delightfully dreadful medley) was "Tomorrow" from "Annie." Just to give you a taste, the medley included not just that, but "Rose's Turn" (Gypsy), "Shall We Dance" (King and I), "Sabbath Prayer" (Fiddler on the Roof), "People" (Funny Girl), "I Could Have Danced All Night" (My Fair Lady) and "Magic To Do" (Pippin).

The farce element of the play seems to have been disregarded by director Joe Mantello. Just about every plot point was pretty well-telegraphed, leaving little room for surprises.

Scott Pask's multi-level set smacked nicely of the '70s with the metallic and flocked wallpapers accented by the innumerable red doors. William Ivey Long's talents go untested in this production, save for one or two of Googie's frocks.

It's a fun show with plenty of cheap laughs, but I wouldn't recommend it as a priority for anyone with limited time to see shows right now.

Turn Up The Heat

"110 in the Shade" presented by the Roundabout Theatre Company at Studio 54, April 21, 2007

Most famous for "The Fantasticks," Harvey Schmidt and Tom Jones collaborated with N. Richard Nash for its first Broadway run in 1963-64, based on Mr. Nash's play "The Rainmaker."

This Roundabout Theatre production is its first Broadway revival and while the book and score are solid, I'm unsure why this didn't turn up as an Encores! production instead. Based on information from fellow theatre-goers, Mr. Nash apparently didn't make significant changes to this adaptation from the original script, which explains why so much of the score repeats information from the dialogue that led up to it. Messrs. Schmidt's and Jones' music and lyrics are certainly enjoyable, but our result is a production that lingers for two and a half hours.

As for the casting, some very talented people are involved. Audra McDonald takes the role of the spinster, Lizzie. Playing her father is the ever-solid John Cullum. Her brothers Noah and Jimmy are played by Chris Butler and Bobby Steggert, respectively.

Ms. McDonald is in beautiful voice for this role - as she seems to be in any role she performs. Despite this, I couldn't help feeling that she's ultimately miscast. Her first song, "Love, Don't Turn Away" is sweet and tender. Even with her thick dark hair pulled back (not nearly severely enough) she still exudes an attractiveness that undercuts the role of this plain, ordinary looking woman longing for love in a dried up Texas town. There too, we don't get to see Lizzie's vulnerability until the second act. By then it's hard to distinguish vulnerability from desperation.

Mr. Cullum's H. C. Curry, Lizzie's father, has realized early on that since tradition (and to a certain point, common sense) has given up on Lizzie, he's willing to entertain new possibilities as to how his only daughter can find happiness.

Mr. Butler's Noah, Lizzie's older brother is much slower to give up on tradition, but more for his own comfort than hers. Also single, having this spinster for a sister provides him with cooking and cleaning without the entanglements or responsibilities of a wife. Younger brother Jim, eagerly and delightfully played by Mr. Steggert, is ahead of his father about finding a man for his sister.

The only local candidate is the local sheriff, File, played by Christopher Innvar. He's got the tall, dark and handsome thing down well. Combine that with a fine voice and subtle but effective performance and it becomes a question as to why Lizzie would ever look anywhere else.

Well, the script brings along Starbuck, a drifter/con man billing himself as a rainmaker who's arrived just to help the poor town end their draught out of the goodness of his heart (and $100 from whomever is willing to shell the cash out). Steve Kazee's Starbuck comes across like semi-skinnied-down Meatloaf crossed with Black Bart (including hat and vest). What ought to be a performance of mystical charisma never seems to arrive. Mr. Kazee seems to have a good voice, but doesn't seem well-suited to this score. Also, he never reveals that inner spark needed to attract others to him. I'd like to see Mr. Innvar in his role for one performance.

Having been in previews for a week when I attended the show, I was surprised that there seemed to still be a problem with lines from time to time - most noticeable from Mr. Cullum and Ms. McDonald.

Director Lonny Price has taken a fairly soft approach with this show. It seems to be missing a certain edge, falling back to predictability as the events of the story unfold. Santo Loquasto has created an excellent foundation with the sun-like turntable stage and an over sized sun which hangs ominously over the set. Christopher Akerlind's lighting hints at the heat only during the opening of the show. Once the story gets moving, everything seems to cool off much too quickly into pastel blues and greens.

It's a solid production, but in the end, an unremarkable one. Maybe they can spark a little life into the show by the time it opens.

Don't Sit Under the Apple Tree With Anyone Else But Kristin

"The Apple Tree" presented by The Roundabout Theatre Company at Studio 54, December 12, 2006

Ben Brantley gushes like a schoolgirl whenever Patti LuPone or Kristin Chenoweth are onstage. I understand his admiration and share it, but not quite to the point of gushing like a schoolgirl. (Have you picked up on the fact that I like the phrase "gush like a schoolgirl" yet?)

Ms. Chenoweth is back on the Broadway boards in the Roundabout's latest revival of Bock and Harnick's "The Apple Tree," three one-act musicals about the power of love. For those of you who may not know the show (both of you), the first act is a retelling of the Bible, "The Diary of Adam and Eve," based on Mark Twain's short story. Act II, "The Lady or the Tiger" is based on Frank Stockton's story of the same name and Act III is "Passionella, A Romance of the '60s" based on Jules Feiffer's story.

This production is basically a restaging of the City Center Encores! production from last season. There have been some casting changes, thankfully. Gone are Malcom Gets and Michael Cerveris, replaced by Brian D'Arcy James and Mark Kudisch. I enjoyed that performance for what it was and was puzzled to see it get a Broadway run.

With Mark Twain flavor, Adam (Mr. James) and Eve (Ms. Chenoweth) set about naming the animals and plants of the world. Adam: flyers, crawlers, swimmers, growlers, hoppers. Eve: horse, goat, bear, lion, parrot, mackeral. Eventually they figure out what each other is for and with a push from the Snake (Mr. Kudisch) the apple falls from the tree, as it were. But, love conquers all, despite the unfortunate proceedings with sons Cain and Abel. As Adam, Mr. James brings a sweet earnestness to the role, immaturely bothered by the intrusion of the new creature, but his sadness is heartfelt when Eve dies at the end of the act. Ms. Chenoweth's song "What Makes Me Love Him" which just precedes that moment lets you know full well why.

A couple of questions:

• Alan Alda is the voice of God - are you kidding?
• Is Ms. Chenoweth's Eve a lot like Sally Brown, or is Sally Brown a lot like Eve?
  

As for "The Lady or The Tiger" I didn't get it at the Encores! production and it's not much improved here. A military hero, a commoner, is in love with the king's daughter, who loves him as well. His trial for this sin is to choose one of two doors. Behind the first is a tiger that will kill him. Behind the other is a beautiful maiden, whom he will marry (whether he wants to or not). Since the accused makes the choice, he is responsible for his own fate. She learns from the tiger trainer which door will hold the tiger for his trial, then learns that her own handmaiden will be the lady behind the other. To see him killed would be torture. To see him marry another would be torment. Which door will she send him to?

Who knows?

Who cares?

This act is not a great bit of theatre, nor is this part of the production. Costumes improve dramatically from Act I, but the set still looks cheap - like an Encores! set does. It's one thing to create a minimalist set because you're either at:

a) a performance by a company with an interesting artistic vision and interpretation of the material, or
b) a performance with a clever creative team who manages to make the results of a small budget look intentional.

This just looks cheap, which is pretty disappointing from John Lee Beatty. He's done some of the most amazing interior sets I've seen on Broadway, from the shiplike residence in Heartbreak House, to the Hamptons home in Naked Girl on the Appian Way and many, many in between. Mr. James as the soldier gives a nice Kirk Douglas imitation during his trial, but otherwise is just satisfactory.

The other weakness is revealed here with the poor vocals from the dancing chorus. They are a pretty chorus, but can hardly sing a note. Choreography also appears to have been phoned in for this act.

The last act, "Passionella..." is a Cinderella tale of a lady chimney sweep who wants to be a movie star. Ms. Chenoweth really shines, as does the rest of the cast in this part of the show. Her frumpy, awkward and shy Ella sings with an endearing weakness. Once she's transformed by her Fairy Godmother (Mr. Kudisch doing double duty along with narrating this act), she's a movie star from the Huntley Brinkley Report until the Late Late Show every night. She meets her Prince Charming, Flip Prince Charming (Mr. James) and is smitten. Mr. James does a nice British 60's rocker bit with this role.

The sets are more interesting, relatively speaking (mylar rain curtains for everyone!), as costumes and choreography seem to step up a bit as well.

Having only seen "The Apple Tree" in these two performances, I have to wonder if much of the weakness comes from the material. Act I is basically just for the two leads. Act II is a throw-away. Act III finally starts to really feel like musical theatre. It looks like this was Gary Griffin's take on the show as well. Lighting was a little conspicuous, but the sound was masterfully executed by Production Sound Engineer, Pitsch Karrer.

I was surprised to see so many empty seats for a subscription musical. On the other hand, if you're not a fan of Ms. Chenoweth (and I am) what's the draw?