Anyone Can Whistle

"Anyone Can Whistle" presented by Encores! at New York City Center, April 11, 2010

(Looking back for a link to another review, I discovered that this one never got published.  A year later, here it is! - M)

Playing along the Sondheim tributes of the season, Encores! presents Mr. Sondheim's biggest flop, which ran for 9 performances in 1964.  Originally written and directed by Arthur Laurents, the legend of the bizarre production proves true.  The twisting tale of a failing town led by a corrupt mayor, capitalizing on a phony miracle and offering period-enthrallment with the concept that crazy equals genius.

The book really is a train wreck.  You could practically see the question marks appearing over every head in the audience as one ludicrous plot turn followed another.

Donna Murphy pulls out all the stops as the ambitious and shady mayoress, Cora Hoover Hooper.  In a Jackie O suit and blond wig, the effect ranges from Mitzi Gaynor to Judy Garland, but the energy is non-stop regardless.  Sutton Foster struggles under the weight of the strangely written Nurse Apple, who can only relax in the guise of a French hooker.  She sings well, better in her character's more vulnerable moments.  Raul Esparza fares a little better as J. Bowden Hapgood, looking dapper in a sharkskin suit.

Still, Mr. Sondheim's score rings through clearly, skillfully led by musical director Rob Berman.  Director and choreographer Casey Nicholaw wisely spends little time trying to make sense of the book scenes, but focuses on the musical numbers to delightful effect.

Music In The Air

"Music In The Air" presented by Encores! at New York City Center, February 7, 2009

(photo: Joan Marcus)

With music by Jerome Kern, book and lyrics by Oscar Hammerstein II, this is a lovely piece that straddles the line between operetta and musical comedy. There are so many moments that foretell of the brilliance to come in future Hammerstein shows. There's a bit of design brilliance already present with the use of diegetic music throughout. From the playbill, Rob Berman describes this as "...meaning that when the characters sing, it is because they are actually singing in the reality of the story."

We also get a preview of a technique Mr. Hammerstein used so beautifully later in "Carousel" where the dialogue is rhymed and spoken in meter.

Kristin Chenoweth is back at the top of her form as the reigning Prima Donna, Frieda Hatzfield. Douglas Sills does his best to keep up, and occasionally gets there as Bruno Mahler, the playwright. Sierra Boggess was lovely as Sieglinde, the ingenue.

Mr. Berman kept close attention to the score and led a thoroughly enjoyable evening. It's this type of show that make Encores! worthwhile.

Summer 2008 Recap

Ok, ok.

I was a little busy over the summer and only posted about myself. (Isn't a certain level of narcissism required to be an actor/blogger?)

Anyway...

It was not as if I didn't see anything. There were several, but I didn't find any to be particularly outstanding.

Marriage of Bette and Boo (Roundabout at the Laura Pels) June 14, 2008
Christopher Durang's version of Albee, but funnier. Nice turns by Julie Hagerty and Victoria Clark and Zoe Lister-Jones.

Some Americans Abroad (Second Stage Theatre) July 5, 2008
American academia can act stereotypically British - who knew?

Damn Yankees (Encores!) July 13, 2008
I love me some Cheyenne Jackson. I really need to get back and see Xanadu with him in the cast. Sean Hayes can play the piano, too!

[title of show] (Lyceum Theatre) July 19, 2008
The little show that could - now has! The set looked a bit too "set-like," but otherwise they've stayed true to their vision.

Impressing the Czar - Royal Ballet of Flanders (Rose Theatre - Lincoln Center Festival) July 19, 2008
I've never been a big fan of contemporary ballet, and this piece did tend to drag after the first act, but it's a splendid production and marvelously visual. Go Jessica Teague!

South Pacific (Lincoln Center Theater at the Vivian Beaumont) August 2, 2008
I stood in line for cancellations and boy, was it worth it!! Kelli O'Hara continues to refine and shade her performance. Matthew Morrison was in excellent voice and Paulo Szot is still as hot as ever!

Cirque Dreams Jungle Fantasy (Broadway Theatre) August 5, 2008
Definitely geared for an audience of children, it's homogenized Cirque for pre-teen and tweens.

Spring Awakening (Eugene O'Neill Theatre) August 8, 2008
My fourth time seeing the show. Several understudies performing, but the piece is holding up very nicely.

The Lisbon Traviata (The Center) August 11, 2008
Gay comedy turns into operatic tragedy in the last scene, though the tone is more Lucia than Violetta.

A Tale of Two Cities (Al Hirschfeld Theatre) August 25, 2008
Where to start on this train wreck? I could borrow from Mr. Alessandrini "I know I've seen this show before." Or, "At the end of the play you're another year older." The show is 20 years in the making which might date its inspiration (not to mention writing and musical styling) to another little piece based on a large 19th Century novel which features a French revolution.

The Tempest (Classic Stage Company) September 4, 2008
Prospero as Shylock via Mandy Patinkin (when he wasn't repeating pages of dialog after being distracted by cell phones). Stark Sands adds beefcake to his talent as a lovely Ferdinand. Elizabeth Waterston, willowy and equally lovely as Miranda. Costumes were only flattering on the pretty people. Production was otherwise kinda flat.

Not a stellar summer, but heaven knows it could have been worse!

Yes, Yes, Nanette!

"No, No, Nanette" presented by Encores! at City Center, May 11, 2008

You just can't beat a nostalgic show with good tap dancing.

And, Encores! has brought us one of the best. Using the 1971 revival of the 1920's original, this was the show that brought Ruby Keeler back to Broadway after a 42 year absence.

Now in 2008, Encores! brings back Sandy Duncan as Sue Smith, the loving and trusting wife of philanthropist bible-seller, Jimmy Smith (Charles Kimbrough) raising their niece Nanette (Mara Davi). Jimmy's attorney Billy Early (Michael Berresse) is married to Lucille (Beth Leavel), Sue's best friend. Their nephew Tom Trainor (Shonn Wiley) has been dating Nanette. Round it out with Pauline (Rosie O'Donnell) as the wise-cracking maid.

It's all very sweet, isn't it? Actually, it is. I think this could be described as the

Happiest.

Score.

Ever.

Director Walter Bobbie lets the sweetness flow at the helm of this gem. Simple staging allows Randy Skinner's excellent tap and soft shoe choreography shine through (I didn't find some of the other numbers quite so shiny).

Ms. Duncan is in fine form and still kicks to the right with the best of them (to the left, not so much), but she looks great and sets a standard for the rest of the cast.

As her husband Jimmy, Mr. Kimbrough (of "Murphy Brown" fame) stammers and stalls his way through the well-meaning character, often resorting to his signature "I want to be happy" reprise to deflect focus from his "...philandering with those three lovely girls. Especially, the big one."

The girls are Betty from Boston (Jennifer Cody) in a Rosie Perez-inspired turn, Winnie from Washington (Nancy Anderson) all sweetness and light, and Flora from San Francisco (Angel Reda) as "the big one."

Mr. Berresse's Billy dances best (though "Telephone Girlie" went about two phrases too long), while Ms. Leavel literally stopped the show with "The 'Where-Has-My-Hubby-Gone' Blues." I'm pretty sure that was the song which won Helen Gallagher her Tony and Drama Desk awards for the role in 1971.

As Nanette and Tom, Ms. Davi and Mr. Wiley embodied old-school-style good kids in love. Both sang and danced beautifully.

But it is the score that is the star of this show. With songs like "Tea for Two," "I Want to Be Happy," and the aforementioned show-stopper, Encores! was very fortunate to have the ever-talented Rob Fisher as musical director and conductor.

It's been 35 years since the last revival closed. I'd love to see a full-scale revival of this show back on Broadway (not just a transfer like the recent "Apple Tree" and "Wonderful Town").

How Are Things in Irish Drama?

"Juno" presented by Encores! at New York City Center, March 30, 2008

Based on the 1926 play "Juno and the Paycock" by Sean O'Casey, this "Juno" is the musical adaptation by Joseph Stein (book) and Marc Blitzstein from 1959. With its dark tale of Irish struggles during the 1921 Irish Rebellion, it's not quite the happy-go-lucky Irish tale the art to the left might indicate.

Much more in the tradition of Irish drama, it follows the tale of Juno Boyle (Victoria Clark) and her family. Her ne'er-do-well husband Captain Jack (Conrad John Schuck) falls victim to Irish stereotype as does his sidekick Joxer Daly (Dermot Crowley), allergic to work and overly fond of drink. Daughter Mary (Celia Keenan-Bolger) longs for a better life than the one Jerry Devine (Michael Arden) might provide. Son Johnny (Tyler Hanes) lost his arm during the rebellion and can't seem to get any focus on where his life may lead. His best friend Robbie Tancred (Kurt Froman) is killed at the outset of the story, the result of a betrayal.

With unemployment rampant and a recalcitrant husband, a distracted daughter and an injured son, Juno's luck appears to change when an English lawyer, Charlie Bentham (Clarke Thorell) arrives bearing news of a dead cousin of Capt. Jack's and a sizable inheritance. Mary is immediately smitten and Capt. Jack starts the words land in his ears. Meanwhile, rebellion forces are snooping around looking for the one who betrayed Robbie (duh, guess who!).

And you can guess what happens with the inheritance and the lawyer.

As the worn and haggard Juno, Ms. Clark sings as beautifully as ever. She shows a genuine bond with her children, but never really showed why she let Capt. Jack continue to hang around without contributing to the household. Her madrigal duet with Ms. Keenan-Bolger, Bird Upon the Tree, stopped the show (or as close as anything that evening might have). Ms. Keenan-Bolger's Mary showed me precisely why she was originally cast as Clara in "The Light in the Piazza" as well as why the role was later recast with Kelli O'Hara. Her soprano voice effectively portrayed the young woman who longs for more.

Mr. Schuck's Capt. Jack staggers, but never really lands on his character. As brother Johnny, Mr. Hanes makes a particularly powerful turn in the Act II ballet (talk about dancing with one arm tied behind your back).

Messrs. Stein and Blitzstein also give us a kind of Greek chorus with Mr. Madigan, Mrs. Coyne, Mrs. Brady and Miss Quinn - a quartet that reminded me of the crones from Boublil and Shonberg's Martin Guerre - providing a bit of humorous relief and various crossovers.

Irish director Garry Hynes, known for award-winning work with Irish drama captures the book scenes with the gravitas and sense of hopelessness one might expect. Unfortunately, this doesn't extend quite so successfully to the songs.

Warren Carlyle's choreography in the Act II ballet is the highlight of the performance. I'd have been happy to cut directly to the ballet from the madrigal and called it a night.

Mr. Blitzstein's remarkably modern score captures the darkness of the subject matter, flavored with Irish inflections. Given the way the songs are packed together, I can't help but wonder why he and Mr. Stein didn't go ahead and make the piece entirely sung-through.

The original only ran 16 performances in 1959. In a year that included "The Sound of Music," "Fiorello!," "Gypsy," "Once Upon a Mattress," "The Most Happy Fella," "Flower Drum Song" and "Redhead," there wasn't much room for a dark horse like "Juno." It's one I'm glad to have seen, but don't think I need to see again. Thanks to Encores! for providing this kind of programming.

Fasten Your Seatbelts

"Applause" presented by Encores! at City Center, February 10, 2008

The new Encores! season has started with a relative bang. The 1970 "Applause" with book by Betty Comden and Adolph Green, music by Charles Strouse and lyrics by Lee Adams, was quite the star vehicle for Lauren Bacall, winning four Tonys and three Drama Desk awards. Based on the classic Bette Davis film "All About Eve" from 1951 (And you thought film to stage was a new concept?), it "updates" the story to 1970 in the wake of Vietnam, rather than the aftermath of WWII. If you really need a plot summary, you should be ashamed, but you can click here for the original movie plot - I think the adaptation to the stage did little more than change the period.

I first saw a production of "Applause" in the early 1990s. The score struck me as dated and the book, a bit creaky. Both observations still hold, despite the excellent orchestra under the skillful direction of Rob Berman.

Chip Zien and Kate Burton in the supporting roles of Buzz and Karen Richards, Margo's playwrights, have a grand time with their crossover numbers and supporting player shtick. I haven't heard Ms. Burton sing before and she does a nice job. Mr. Zien is in his usual fine form.

As Bill Sampson, Michael Park takes a well-deserved break from television's As the World Turns' Jack Snyder. He is well-cast as the handsome younger director in love with the slightly older Margo. His part is a bit thin (it's really not one of Comden and Green's better books), but he sings nicely and it's easy to understand why Eve is so attracted to him.

Tom Hewitt is nicely nasty as Howard Benedict, the Broadway producer who turns the tables on Eve after she tries to step over him on her way up. Mario Cantone is remarkably subdued as Duane Fox, Margo's hairdresser, though he does take his moment when it's appropriately given to him with a nod to Ms. Davis and Katherine Hepburn tossed in for fun.

Director/choreographer Kathleen Marshall has reunited the mother/daughter pairing of Christine Ebersole and Erin Davie in the respective roles of Margo Channing and Eve Harrington. It's actually quite an effective touch of casting.

Ms. Davie's Eve truly captures the the vulnerable and mousy waif who burrows her way into Margo's life. Her transformation into starlet is skillful, sleeping her way to the top, regardless of the consequences. When what "goes around, comes around" it's a well-deserved and satisfying end.

It's Ms. Ebersole who carries the bulk of the show. As I mentioned earlier, I had seen a production of the show many years ago. At the time, it was easy to see Ms. Bacall in the role, but still with remnants of Ms. Davis lingering. Ms. Ebersole totally makes the role her own in no uncertain terms. There are no references to either of her predecessors' Margos - quite a feat.

Ms. Marshall has also done an excellent job capturing the period in her choreography with a strong feel of early Michael Bennett. I do think more time was spent on the songs than the scenes. This was the first time I was really distracted by the actors carrying their scripts. I especially liked the new staging and arrangement of the title song extended into a tribute medley of other Encores! productions including The Apple Tree, Babes in Arms, Boys From Syracuse, Bye Bye Birdie, Call Me Madam, Can-Can, Carnival, Chicago, Follies, Hair, Kismet, The New Moon, Of Thee I Sing, On a Clear Day You Can See Forever, Promises, Promises, St. Louis Woman, Stairway to Paradise, Strike Up the Band and Wonderful Town. (I think I identified all but three of these from the musical references.)

Don't Cry For Me, Styne and Sondheim

"Gypsy" Encores! Summer Stars production at City Center, July 19, 2007

As Encores! continues to expand programming beyond their original mission, up first is "Gypsy" starring Patti Lupone. Seems like she and Bernadette Peters are competing to see who can do the most Ethel Merman roles. At the moment, I believe they are tied at two each. Ms. Peters has performed Mama Rose and Annie Oakley (both on Broadway) to Ms. Lupone's Mama Rose and Reno Sweeney. If there are others I've neglected, I'm sure I'll be corrected in short order.

This production, under the direction of its book writer Arthur Laurents, does just what a limited summer run should do; bring in a crowd and give them some laughs. Mr. Laurents milks his script for every laugh he can find, even at the price of one or two moments where a bit of pathos might have been nice. In particular, at the end when Gypsy asks Rose why she did what she did all her life. Rose replies "I just wanted to be noticed." It should have been the final touching revelation of Rose's humanity, but instead the mask is solidly back in place and the line is merely tossed out.

As Rose, Ms. Lupone is in her usual fine voice (diction not withstanding). She trumpets through the score, belting out each number with her regular ferocity. Her Rose, however, doesn't always match up to this voice. As she continues to place set pieces during the Orpheum audition (Caroline the Cow), she tiptoes about. When she realizes she's visible, it seems she already knew it, rather than being surprised and attempting to choreograph herself offstage.

In what has been characterized as the most thankless male role in musical theatre, Boyd Gaines gives it everything he's got as Herbie, the world-weary agent. Gaines handles the meek side of Herbie very nicely, but seems a bit at a loss when Herbie does at last lose his temper. His scenes with Ms. Lupone did have a particularly nice quality to them - excellent onstage chemistry.

In supporting roles, Leigh Ann Larkin as Dainty June and Tony Yazbeck as Tulsa turn in fine performances, but both felt a little held back. Ms. Larkin's June gets a couple of good shots in with her scenes with Louise, but I would like to have seen her more angry about being tied to Rose so tightly. Mr. Yazbeck's "All I Need Is The Girl" showcased him beautifully - a fine singer/dancer.

As Louise/Gypsy, Laura Benanti is delightful. She plods along playing second fiddle to June and June's image until her moment to shine finally arrives. The transformation scene, when she's dressed to go on for her first strip was one of the most touching I've seen of the MANY productions of "Gypsy" that I've attended. This transformation continued all the way through the entire strip-sequence, adding layers as she took them off.

Sets by James Youmans and costumes by Martin Pakledinaz were functional and appropriate, but it is Howell Binkley's lighting that makes this production work.

Star watch: Nigel Redden, director of Lincoln Center Festival and Spoleto Festival USA.

The Girls Upstairs

"Follies" Encores! production at City Center, February 10, 2007

An amazing cast, excellent direction with one of Sondheim's deepest scores, Encores! has delivered one of their best productions.

I think Encores! is one of the greatest ideas around. Gathering very talented performers and theatre artists to quickly mount a basic-staging of some of the theatre's better- or lesser-known shows that might not otherwise ever be seen. Encores! has had some significant successes in changing the fate of shows like "Chicago" (still running from its transfer to a commercial production) to "Wonderful Town" which enjoyed a good year or so in a commercial run, even to the soon-to-close "Apple Tree" at Roundabout's Studio 54.

There was a bit of buzz about transferring "Follies" to a commercial run, but the fervor for that seems to have waned and now appears unlikely (would have required some principal casting changes - Donna Murphy is already committed to another show this year).

Nevertheless, it was quite exciting to see this live production. The only other I'd seen was the 1985 documentary of the NY Philharmonic concert version with Lee Remick (Phyllis), Barbara Cook (Sally), George Hearn (Ben), Mandy Patinkin (Buddy), Carol Burnett (Carlotta), Elaine Stritch (Hattie), Phyllis Newman (Stella), just to name a few. At the time, I really thought I'd seen a definitive interpretation.

Not so.

Casey Nicholaw continues to prove himself as a thoughtful and talented director and choreographer. Of course, an all-star cast doesn't hurt a bit:

• Victoria Clark - Sally Durant Plummer
• Donna Murphy - Phyllis Rogers Stone
• Victor Garber - Benjamin Stone
• Michael McGrath - Buddy Plummer
• Philip Bosco - Dmitri Weismann
• Joan Worley - Stella Deems
• Christine Baranski - Carlotta Campion
• Lucine Amara - Heidi Schiller
• Mimi Hines - Hattie Walker

Too many highlights to list without reciting the show completely, here are a few:

Victoria Clark - I LOVE her! And have since "Light in the Piazza." Barbara Cook is famous for her Sondheim interpretations, but she needs to watch her back. Vickie's got a voice (literally and figuratively) that's up for the challenge. Mr. Sondheim might do well to keep her in mind as he writes his next new show.

Donna Murphy - another musical theatre artist of the highest caliber. Merely her subtle physicalization of this role communicated the years of experiences in Phyllis' life. Quoting Ben Brantley in his review: "To understand what “Follies” is meant to be — and too rarely is — you need only look at Ms. Murphy’s expression when she first sees the actress playing her 19-year-old self."

Victor Garber was both the show of bravado and cringing child that is Benjamin Stone. He was most affecting in his breakdown amidst "Live, Laugh, Love." Michael McGrath came quite a long way from Spamalot's Patsy, giving a particularly athletic song and dance performance in both "The Right Girl" and "The God-Why-Don't-You-Love-Me Blues."

If Ms. Baranski's Carlotta had been any more deadpan, one might have needed to check for a pulse. Nonetheless, it worked for the world-worn character, although she wasn't in great voice the night I saw the show. (I have to add here Jackie Hoffman's comment about her from her "Jackie With a Z" cabaret show at Joe's Pub. "Christine Baranski - she said to me, 'I know Hanukkah - that's Christmas with the candles, right?' ")

There were a couple of staging decisions that seemed to undercut the proceedings. One was the opening, which was much more effective in the 1985 staging. Having so many of the returning Follies girls enter to applause before the "Beautiful Girls" number seemed to undercut its impact. I also thought William Ivey Long and Gregg Barnes' total costume and hair changes for Sally and Phyllis for their respective songs, "Losing My Mind" and "The Story of Lucy and Jessie" interrupted the flow of the story. Changing from the all-black concert attire into an all white gown for Sally and all red "jazz-hot" costume for Phyllis was a bit jarring. Even the baby blue dinner jacket for "The God-Why-Don't-You-Love-Me Blues" was more than what would have been effective.

Things I really did like were the quartet number of young Sally, Phyllis, Ben and Buddy, "You're Gonna Love Tomorrow/Love Will See Us Through" with each couple interrupting and interpolating amongst themselves. It was a great concept that demonstrated how the couples matched and mismatched simultaneously. I also thought JoAnne Worley did a fantastic job leading "Who's That Woman?" and again kudos to Mr. Nicholaw for the mix of the older and younger versions of these characters dancing together.

Speaking again of Mr. Nicholaw (which one can't go without here) he also captured the various dance styles beautifully, (except perhaps for the tango number in Act I). From the tap of "Who's That Woman" to the Jack Cole style of "... Lucy and Jessie" to Busby Berkeley in "Live, Laugh, Love" he proves his worth in spades.

(Star Watch: David Hyde Pierce in the house. I even spoke to him - told him I was looking forward to "Curtains." He said I'd enjoy it "... a fun show")