WORKING

"WORKING" presented by Prospect Theater Company at 59E59 Theatre, December 12, 2012

(photo: Richard Termine)

Prospect Theater Company presents a new re-working of the 1978 musical based on Studs Terkel's book, with two new songs by Lin-Manuel Miranda. 

The streamlined cast of six replaces the seventeen from the original Broadway production, slicing and dicing the remains into a tight 65 intermissionless minutes. 

Director Gordon Greenberg has assembled a talented and capable cast to portray the 25 stories, including Marie-France Arcilla, Joe Cassidy, Donna Lynne Champlin, Jay Armstrong Johnson, Nehal Joshi and Kenita R. Miller. 

Some moments stand out more than others: Ms. Champlin's Rose Hoffman, an aging and out of step teacher who sadly reflects on the degradation of respect for her role in the lives of children over her 45 years in the classroom with Nobody Tells Me How.  She gives another clever moment as the waitress Delores Dante in It's an Art responding to the question, "just a waitress?"  Mr. Johnson gets a nice turn as well as pervy UPS delivery man, Conrad Swibel.
The juxtaposition of Ms. Miller's hooker to Ms. Champlin's high society fundraiser points up how the two roles are more similar than different.

My father always said, "if it were fun, they wouldn't call it 'work'," and for the most part he was right.  Still, of the 25 working stories, there are remarkably few that really expressed any joy.  As much time as we spend working, an uplifting evening of work stories and songs would have more appeal.

WORKING runs through December 30.  Tickets here.

Triass Parq, The Musical

"Triassic Park, The Musical"at Soho Playhouse, June 23, 2012

(Looking back, I found this post never got published.)

If you're looking for a bit of cool summer froth, head downtown.

Mixing the metaphors of Gregory Maguire (Wicked), Mark Hollmann and Greg Kotis (Urinetown), and Douglas Carter Beane (Lysistrata Jones), creators Marshall Pailet, Bryce Norbitz and Stephen Wargo spin the tale that "...is not Jurassic Park..." from the perspective of the dinosaurs.

Silliness abounds alongside cartoonish concepts of religious foundations as our cast of three Velociraptors, two T-Rexes and a "Mime-a-saurus" recount Michael Crichton's story of creation, fatal flaws and chaos. (In their world, they refer to their creator as Lab instead of God, setting off a series of nonsequiturs that could be funny with a bit more refinement.)  And, since all the dinosaurs were created female so there would be no offspring, all the characters are played as women.

Spoiler alert.

Leading the charge is Morgan Freeman (a very funny and very white Lee Seymour) as the narrator, providing exposition and spoilers ( "It's the frog DNA!") as the evening progresses.  Velociraptor of Faith (a most hunky Wade McCollum), Velociraptor of Innocence (an awkwardly androgynous Alex Wise), BFFs T-Rex 1 (a belting Shelley Thomas) and T-Rex 2 ( hot pink-lidded Claire Neumann) who speak in unison, Mime-a-saurus (an also hunky Brandon Espinoza), and the exiled Velociraptor of Science (a very funny Lindsay Nicole Chambers) round out the cast as they invent creationism for themselves to explain where they came from and how their world works.

Once the frog DNA surfaces with T-Rex 2's spontaneous genital metamorphosis from female to male.  Faith sees it as a demon that should be outcast.  Innocence doesn't understand Faith's unwillingness to accept change as natural.  She learns then about the existence of Science who lives outside the fence in exile.  Further revelations abound along with an under-used goat puppet.

Production values are clever, sets by Cite Hevner, costumes by Dina Perez and lights by Jen Schriever

Wrap all this up in a pop score by Mr. Pailet and run it in 85 minutes, and you get a show full of laughs and energy.

Triassic Parq, The Musical runs through August 5.  Get tickets here

Ghost, the Musical

"Ghost, the Musical" at Lunt-Fontanne Theatre, April 20, 2012

Yes, another Whoopi Goldberg film has made its way onto the stage, landing at the Lunt-Fontanne laden with scads of sparkling, flashy lights and some remarkably clever stagecraft.  Yet, like its predecessors (The Color Purple, and Sister Act), the results are mixed at best.  (Full disclosure, I did not see The Color Purple.) 

Bruce Joel Rubin's cursory book remains true to the film, telling the story of Sam (Richard Fleeshman) and Molly (Caissie Levy), young lovers parted by Sam's murder at the hands of a hired thug.  Unable to move "into the light" Sam eventually connects with Oda Mae (Da'Vine Joy Randolph), a two-bit psychic with heretofore unrealized abilities.

But you all know the story.  And there are no variations offered here, though a couple of plot points have been streamlined for time.

The quite hunky Mr. Fleeshman sings nicely as Sam, but seems to withhold his chemistry with Ms. Levy until well after his character is dead.  Ms. Levy's Molly fulfills her obligations, but comes up a little short.  Bryce Pinkham's Carl brings the strongest physical resemblance to his film counterpart, but fails to convey his attraction to Molly sufficiently.  Ms. Randolph finds the most success as Oda Mae.  She plays the role much more broadly than her predecessor, but in 1500-seat  Lunt-Fontanne, that's what's called for.

Director Matthew Warchus' staging raised a question or two for me.  In the penultimate number, the reprise of "Unchained Melody," neither Sam's nor Molly's face are visible.  If ever there were a time to show some emotion, that was it.  The rest came off a bit perfunctory.

Ashley Wallen's choreography adds little and reminds me very much of the scene transitions from 2010's short-lived Enron, when combined with the John Driscoll's video and projection design.  Not to minimize the impact of the video and projections, those added significantly to the visual.  The subway scenes worked especially well.

The score is serviceable, if bland, filled with more than the requisite number of power ballads, courtesy of Dave Stewart and Glen Ballard.  I would have liked more integration of score and book, with the music serving to expand character more often than not, rather than add to the storytelling.  I think there was a missed musical opportunity for something really interesting and fun when Oda Mae first shows up at Molly's to warn her.  It all felt just a little too safe.

Where this show satisfies are the visual effects.  Some are things you've probably seen before, but others are remarkably well done, particularly Sam's first time passing through a closed door.  The final effect is also noteworthy as Sam moves from this world to the next.  Kudos to Paul Kieve for his efforts.  (I'm guessing there's no Tony category for Best Stage Illusions.)

Ghost the Musical is on an open run.  Get tickets here.

Once

"Once" at Jacobs Theatre, March 8, 14 and 28, 2012

(Photos: Joan Marcus)

It's been a couple of years since I've seen a show multiple times.  The last was Lincoln Center's sweeping revival of South Pacific, which I saw once in previews, once mid-run, and the closing performance. The beauty and romance of that show is very different from Once, based on the 2006 movie of the same title.

After a successful run off-Broadway at New York Theatre Workshop, Once has moved uptown for what I hope will be a lengthy run. It brings its own sense of romance, intimate and touching, while hunkered down in a Dublin pub.  Each of its characters are searching for his or her respective place in the world.

Leading the quest are the generically, yet conspicuously named Guy (Steve Kazee) and Girl (Cristin Milioti).  He, a vaccuum repairman and frustrated musician, is foundering after having his heart broken by a recently emigrated girlfriend; she, by an estranged husband who has returned to their native Czech Republic.  She encounters Guy at the pub and is immediately drawn to him, sensing his despair, and manages to turn him to his music to resolve his pain.  The spark between them smolders slowly as each convinces themselves of reasons to stay apart.  She sees his departed girlfriend as first love unresolved, which would forever be a barrier between them.

Sharing his musical instincts, Girl convinces Guy to record a demo album, take it to New York, get his girlfriend back and live happily ever after. She arranges the financing and the backup musicians, mostly her ragtag Czech housemates to make the recording.  I'll skip the rest to avoid a spoil.

Mr. Kazee finds himself in an most suitable role for his talent, far exceeding his performance in 2007's 110 in the Shade.  As Guy, he hesitates and demures at Girl's initial bossy insistence that he pursue both his music and his lost love.  When he sings, his broken heart virtually pounds with raw and visceral emotion.  We clearly see him struggle as the songs he wrote for one woman take on another meaning as he recognizes his feelings for a potential new love.  It's a powerful, honest performance.

Ms. Milioti's captures the direct, no-nonsensibilty of the Czech emigre. After hearing his music, she says, "You are like Mendelssohn, except you are alive...and Irish."  She is surprised to be caught up in her feelings for Guy, yet pushes him away for what she believes is his own good.  Her most touching moment comes when Guy asks her how to ask in Czech if she still loves her husband.  After he parrots her words to repeat the question, she answers, also in Czech which he won't understand, "I love you."

The book for Once, by Enda Walsh, expands the backstories and provides clearer exposition unfolding this story.  Director John Tiffany's delicate direction woven with Steven Hoggett's movement balance an otherwise eclectic mix of characters into a cohesive ensemble. The mostly diegetic score, has been expanded from the original movie, by Glen Hansard and Marketa Irglova.  Bob Crowley's scenic and costume design clearly delineates character and settings, working seamlessly with Natasha Katz' lighting.  The twinkling light effect for the hillside scene is quite clever.

I have to say, though I liked the original movie, it didn't move me like the stage version.  I think the heightened theatricality, combined with Mr. Kazee's and Ms. Milioti's tender performances are what generates the passion in the theatre.

On a Clear Day You Can See Forever

"On a Clear Day You Can See Forever" at St. James Theatre, December 15, 2012 

Why?

Why change the focus of the story from Daisy, now David (David Turner) to the psychologist Mark (Harry Connick, Jr.) 

Why hire Mr. Connick to perform on Broadway and not let him do what he does best? Did none of the producers and/or creative team see Pajama Game?  "Hernando's Hideaway" turned that show on its ear, combined with the infused chemistry playing opposite Kelli O'Hara.  We get neither here.

Why not have him accompany Melinda's (Jessie Mueller) numbers, particularly "Ev'ry Night at Seven," among several others of which could have been beefed up to accommodate him.

Why give him book scenes that really require an actor?  He's a singer, not an actor.  Even here, he's not even trying.  He might as well be texting the performance in from his dressing room.  He sings solidly, but that, too, comes across as uninspired.

Why did he stick with this show?  It's painfully obvious that he'd rather be somewhere else.  Is he working his own slowdown in hopes of closing it before his contract expires?  That would seem remarkably inconsistent from his last outing.

Why take what was a questionable property and re-write the story to a period when the concept of homosexuality was still highly controversial?  If the idea is to ignore the doctor's struggle over the fact that the woman he loves is in the body of a man, shouldn't it be in a time when that isn't such a struggle?  There's no reason why Melinda had to be David's most immediate past life. Why not hire a book writer with a stronger gay sensibility like Douglas Carter Beane or Richard Greenberg? 

Why does David literally and completely disappear in the flashback scenes, except for "You're All the World to Me?"  That number was the only one that really worked, thanks to the rare, effective bit of choreography by Joann M. Hunter.

Why is the rest of the musical staging such a series of park and barks?

Why wasn't David more adorable?  Drew Gehling's Warren came across much better.  Why was David's BFF Muriel (Sarah Stiles) so obnoxiously written and performed?

Why take such a wonderful song like "What Did I Have That I Don't Have" and reduce it to a single punchline sung by David?  Why waste the talent of Kerry O'Malley?   Why not give it to Sharone (Ms. O'Malley) as she gets more involved in Mark's apparent self-destructive actions, rather than the disrespectful nod of acknowledgement she gets from the secretary late in Act II.

Why waste the talents of Catherine Zuber on such a fashion-deficient era as the '70s?  If that's the look, Mr. Producer, save your cash.

Why?

Lysistrata Jones

 "Lysistrata Jones" at Walter Kerr Theatre, November 18, 2011

Transferring from off-Broadway run downtown, Douglas Carter Beane takes on the Greeks again in this re-telling of the Aristophanes classic.  Tongue remains firmly in cheek, much as it did with Xanadu a few years ago.

From one perspective, it's an extended episode of "Glee."  But that's slightly dismissive and I did have a great time.  Liz Mikel kicks things off as the goddess Hetaira, quickly moving the location from Olympus to Athens University, where the basketball team hasn't won a game in 33 years.  Lysistrata Jones (Pati Murin) arrives as a transfer student and starts to stir things up right away, putting together a cheerleading squad to motivate the team.

When the players tell the squad they're not interested in improving, Lys searches for a new plan, coming across the Aristophanes' play for which she was named.  Borrowing its plot points for her own devices, Lys has little immediate success.  School nerd, Xander (Jason Tam) learns to dance from an app on his smart phone. Adorable team captain Mick (Josh Segarra) delivers what will likely be short-lived jokes about Herman Cain.  Women's study major (duck before the subtext knocks you over) Robin (Lindsay Nicole Chambers) makes her own conversion of sorts, too.

Mr. Beane, as usual, plays with gender roles and mixes up the couples with both expected and unexpected pairings, pulling much from pop culture as mentioned above.  (By the way, the Athens University team mascot?  Yes...the Spartans.)  Lewis Flinn's score serves well, moving the story along, though there aren't many memorable songs.  Director/choreographer Dan Knechtges keeps the pace moving, borrowing a bit of Bill T. Jones here and there among the basketball exercise drills.

It may not outrun "Chicago," it may not provide the catharsis of "War Horse," but it's lots of fun.  There should be plenty of discounts available.  Check out Broadwaybox.com and get tickets.

Follies

"Follies" at the Marquis Theatre, September 8, 2011

Stephen Sondheim's 1972 musical returns to Broadway via the Kennedy Center transfer from a successful run this summer. 

It's got star power with Bernadette Peters and Jan Maxwell as Sally and Phyllis, respectively.  There's some depth in the cast as well, with Danny Burstein, Jayne Houdyshell and featuring Elaine Paige as Carlotta.

Director Eric Shaeffer creates an aptly dark mood with a ghostly chorus line of deco-clad follies girls haunting the stage, already in motion as the house opens pre-show.  His sound designer carried it a bit too far, employing effects from Disney's Haunted Mansion before the show begins.  Derek McLane's sets also straddle the line of success.  The crumbling proscenium and brick-walled set, with iron catwalks and stairs evoke nicely, but draping the entire theatre in dirty oil cloth pushes too far. 

Performances are strong.  Ms. Peters excels as Sally, though she's a bit too pitiful at times.  Still, her "Losing My Mind" pulls the heartstrings, and in "Buddy's Eyes" she matches the emotion of her "Send in the Clowns."  Mr. Burstein's Buddy was as usual a bit more fey than necessary, a habit that was better controlled in South Pacific.  Ron Raines as Ben fills the bill.

It's Ms. Maxwell's Phyllis that clinches this production.  Icy, aloof and piercing, she clips and quips through Phyllis' bitter facade.  The highlight is "Could I Leave You" when the bile and resentment of 30 years of an unhappy marriage spew out.  She's electrifying.

Follies, on a limited run, has just announced an extension through January 22, 2012.  This is one to see.

Catching Up the Backlog

It's been a busy spring.  Here's a collection of summaries on what I've seen of late.

"The House of Blue Leaves" at the Walter Kerr Theatre, April 11, 2011

This revival was a big hit in its 1986 production at Lincoln Center Theatre with John Mahoney, Swoosie Kurtz and Stockard Channing.  I wish I'd seen it.  Instead we get Ben Stiller, who was also in the 1986 production, with Edie Falco and Jennifer Jason Leigh.  Ms. Leigh is the only one close to being appropriately cast.  Director David Cromer seems to have strayed from what made his last two successful productions work (Our Town and Brighton Beach Memoirs) - focus on the text.  One has to wonder how much pressure there was for commercial success after the unfortunate end of the latter.  Mr. Stiller flails but never nails the desperation of Artie, making the ending twist all the more flabbergasting for the wrong reasons.  This limited run ends July 23, 2011.

"The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures" at the Public Theater, April 13, 2011

Tony Kushner returns to New York with a new play on an operatic scale (and length).  Taking on themes of communism, socialism, labor unions, sexuality and betrayal, this production is its latest incarnation after a premiere at the Guthrie.  Powerful and sweeping, one can see the work that has taken place, and the work still to be done.  Where it lacks the extravagant theatricality of Angels in America, it makes up in character development.  Stephen Spinella's Pil, gives us a glimpse of what Louis Ironson might have grown up to be.   Director Michael Greif, who also directed the Signature's revival of Angels... handles the mammoth work with finesse.  It's not Mr. Kushner's greatest work to date, but will rank among the better ones.  This limited run ends June 12, 2011

"Picked" at the Vineyard Theatre, April 15, 2011

Christopher Shinn brings us a tale of "be careful what you wish for" with this story of an actor who finally gets his big break to work with a world-class director (think James Cameron) on a new concept of film-making in which the process is reversed, writing the script after casting the actors.  It's an interesting concept and relatively well-written.  Coming off a starring role in "Cloverfield" Michael Stahl-David handles the scenes of insecurity experienced by most actors well.  He fails to deliver on the more emotional moments where the honesty his character purports to demonstrate don't come through.  Picked runs through May 22, 2011.

"Jerusalem" at The Music Box, April 16, 2011

Mark Rylance returns to Broadway in this story of a down-and-almost-out man fighting to keep the land he claims as a birthright from development.  He supports himself by selling drugs to the wayward youth in the area, drawing them in like the Pied Piper.  The subplot of a missing girl gets a bit lost in the shuffle from time to time, but Mr. Rylance is at his usual stellar performance level playing his own kind of St. George saving the maiden from the dragon.  This limited run ends July 24, 2011.

"The Importance of Being Earnest" presented by Roundabout Theatre Company at the American Airlines Theatre, April 21, 2011

Brian Bedford directs and makes Lady Bracknell the ultimate travesty role in this delightful revival of the Oscar Wilde classic.  Even the likes of Jane Houdyshell as Miss Prism can't steal the spotlight from Mr. Bedford.  This limited run ends July 3, 2011.

"The People in the Picture" presented by Roundabout Theatre Company at Studio 54, April 24, 2011

Once again, the Roundabout varies from their core mission of producing revivals to attempt a new production.  Even talented star power like Donna Murphy and Chip Zien can't help turn this overearnest effort into a hit.  Crossing elements of To Be or Not To Be with Sophie's Choice it finds neither the laughs nor heartache of either.  This limited run ends on June 19, 2011.


"The Normal Heart" at the Golden Theatre, April 25, 2011

What was first received as Larry Kramer's ranting polemic about the origins of the AIDS crisis and the failure of both the US and New York City governments to act in the best interests of homosexual men to stem the plague, it reveals itself as remarkably relevant today.  It also reveals itself as a particularly  good play, well-constructed and very powerful.  This all-star production in its first bow on Broadway features an excellent cast including director wunderkind Joe Mantello in the leading role of Ned Weeks, Kramer's thinly-veiled self-portrait.  Directors Joel Grey and George C. Wolfe channel the pain and anger into power.  David Rockwell's stark black and white set cleverly reveals the seemingly endless headlines and quotes from the period as the situation deteriorates, with stark projections of the increasing number of victims' names eventually covering the walls of the theatre itself.

Not to be missed, this limited run ends July 10, 2011.


"War Horse" presented by Lincoln Center Theater at the Vivian Beaumont, April 26, 2011

Based on a novel for young adults (think Coram Boy), this story of a young man's relationship with his horse during World War I is beautifully staged following its transfer from London.  The use of puppetry figuratively and literally anthropomorphizes the horse Joey, 1/2 thoroughbred, 1/2 workhorse as he struggles to survive the horror of war.  Eight million horses died during WWI - only 62,000 of them were brought back to England.  Even though the script is often predictable, the staging is breathtaking and the emotions are strong.

It's a brilliant production - not to be missed.  War Horse is on an open-ended run.

Catch Me If You Can

"Catch Me If You Can" at the Neil Simon Theatre, March 21, 2011


Marc Shaiman and Scott Wittman have mined Hollywood to create another excellent stage musical adaptation from the 2002 film of the same name.  This time around, wisely, they've taken a bit more of a conceptual approach to tell the story of con man Frank Abagnale, Jr. (Aaron Tveit), who scams his way around the globe amassing and burning through lots and lots of money that's not his.  Working as a memory play, it starts as Frank gets caught by Carl Hanratty (Norbert Leo Butz), the federal agent who has been chasing him for years.  Frank, eager to finally tell his story, turns it into a television musical special along the line of Jackie Gleason's in the 50's or Dean Martin's series in the '60s, complete with a full cast of chorus girls, the Frank Abagnale, Jr. dancers.  With a tight book by Terrence McNally, Frank starts his tale as a teenager, learning from his father, Frank, Sr. (Tom Wopat), that image is everything.  Honesty, financial responsibility - - not so much.

Spoiler Alert



Fresh out of high school, Frank leaves home with barely the clothes on his back as his parents split and learns quickly how to profit from bad checks, kiting his way through Manhattan before every bank in the city is looking for him.  He heads west for "greener" pastures and bluffs his way into the cockpit of an airline, flying around the world, and bedding innumerable stewardesses along the way.  Life is good until the FBI starts after him.  He lands in New Orleans, impersonating a pediatrician in a hospital ER.  Love turns out to be his undoing, meeting nurse April Strong (Kerry Butler). Agent Hanratty is close on his heels and Frank finally comes clean with April and convinces her to meet him at the airport to make their escape.  April turns him in and we're back to the opening tableau.

Mr. Tveit makes an impressive turn in his first billing above the title, capturing Frank's charm.  Mr. Butz' Hanratty is a song and dance man in the style of Jimmy Cagney, ornery and crusty with a heart.  Mr. Wopat is capable, if unremarkable.  Rachel DeBenedet as Frank's mother, Paula, is straight out of central casting: tall, blonde and elegant.  Ms. Butler doesn't have so much to do, not appearing until Act II, but she does what she does best with "Fly, Fly Away."

Director Jack O'Brien's staging keeps the energy high enough to pull through some of the weaker numbers, for example, "My Favorite Time of Year," which closes Act I.  Jerry Mitchell's choreography is some of the best work I've seen from him in a long time, spot on to the period.  Mr. Shaiman's music is full of hummable melodies, but the lyrics tend to border on Hallmark.

Catch Me If You Can may not be the absolute front-runner for this year's Tony, but it will certainly be a well-deserved member of the pack.

Tomorrow Morning

"Tomorrow Morning" presented by The York Theatre Company at Theatre at St. Peter's, April 2, 2011

In a slimmed down one-act version, following its US premiere in Chicago, Tomorrow Morning has arrived in New York, courtesy of The York Theatre Company, an off-Broadway troupe which focuses exclusively on producing musicals, both new and revivals.

The story follows two couples on the eve of large events in their respective lives.  What we get is an interesting concept that puts a spin on The Fourposter, showing the simultaneous progression and degradation of a relationship at its beginning and end.   For the first, living ten years ago, John (Matthew Hydzik) and Kat (Autumn Hurlbert), they are about to be married.  The second, living in the present, Jack (D.B. Bonds) and Catherine (Mary Mossberg) are about to divorce.

Spoiler alert


John and Kat are eager about everything, as twenty-somethings tend to be, their careers, their relationship, their plans for the future of both.  They're passionate and as absolutely certain of themselves as callow youth propels them.

Jack and Kat separated after Jack's affair with a co-worker.  And she's angry.  Really angry.  What she doesn't see is that her own ambition is what pushed him away in the first place.  She also wields custody of their son like a sword.

In the single night, many twists and turns arise. John sneaks over to see Kat against her mother's wishes to give her a present, a childhood picture of Kat dressed up like a bride.  Later, Kat learns that she's pregnant when the lab calls to confirm their marital blood test.

Similarly, Catherine panics when her son, after overhearing yet another argument between his parents, takes off in the night to find his dad.

The first half follows very familiar territory for both couples with no new insights to the situation of either.  It's only once the child becomes part of the story that some true feeling and emotion turn up.  The music is pleasant enough, though occasionally unremarkable.

Performances are generally even, though Mr. Bonds seems to get the short end of the stick in an apology of a role.  To his credit, he still manages to fill in a third dimension to the very limited writing.  He and Mr. Hydzik also create a very touching moment as they sing of the child in "Look at What We Made."

Director Tom Mullen keeps things moving well, fortunate to have an excellent set by Dan P. Conley to facilitate the multitude of shifts in time and place.

Tomorrow Morning runs through April 23, 2011.  Get tickets here.

How to Succeed in Business Without Really Trying

"How to Succeed in Business Without Really Trying" at the Al Hirschfeld Theatre, March 31, 2011

 When the last revival of Guys and Dolls was announced a couple of years ago, my reaction was, "Why?"  I didn't see the revival, but based on its limited run, that seems to have been a general consensus.

Then, the announcement came last year that How to Succeed in Business Without Really Trying was headed back to Broadway with Daniel Radcliffe in the lead.  Again, I asked, "Why?" 

Now, I get that commercial theatre is about making money.  It's a high-risk venture, and from time to time art and commerce combine to create something magical and profitable.  Every producer is looking for that secret formula to achieve that same goal. 

I get that revivals are easier to market because earlier production(s) have taken care of creating awareness and setting a basic interest level, more often than not.  That takes one variable out of the formula, again more often than not.  And, apparently, just like the last Guys and Dolls, removing that variable is not the silver bullet to perfect the formula. (How's that for mixing metaphors?)

It's a similar situation with Rob Ashford's revival of H2S.  There's a strong element of star power with Mr. Radcliffe and John Larroquette to combine with the generally favorable awareness of the show, but addressing that variable isn't enough to perfect the formula either.

Don't get me wrong, it's not a bad show by any means.  It's just unremarkable.  Musically, it's serviceable, but David Chase's music direction and arrangements add little to Frank Loesser's score. 

Mr. Radcliffe's very young J. Pierrepont Finch is certainly likeable.  He's not a particularly strong singer, but looking at his predecessors Robert Morse and Matthew Broderick, the role doesn't call for that.  He gets the Faith Prince choreography treatment for most of the show (that's where the chorus dances around him), but does jump into it in "Grand Old Ivy" and "Brotherhood of Man."  At his young age, he's got the energy to compensate for training.  Plus, Mr. Ashford is truly skilled at choreographing men to dance like men.  The combination works well for an inexperienced dancer like Mr. Radcliffe.

Mr. Larroquette (who still seems to be working on his lines in a scene or two) blusters and struts as J. B. Biggley.  Tammy Blanchard's Hedy LaRue pulls a lot from Jennifer Coolidge, and for the most part, it works. 

Rose Hemingway, like Mr. Radcliffe, is very young for the focused Rosemary Pilkington and still a bit of a raw talent.  I look forward to seeing her again as she hones her skills.  Christopher Hanke's Bud Frump borrows heavily from Molly Shannon's Mary Catherine Gallagher (superstar!!).  The effect works very nicely, making a more adorable Bud Frump than one might expect.

Mr. Ashford's direction and choreography are unevenly applied.  The direction is minimal, where most of his energy seems to have gone into the choreography.  The dance is impressive, but this is not a show one can pull off on dance alone.  There are still plenty of laughs and some nice moments.

Derek McLane's massive sets evoke the period nicely, but occasionally overpower the diminutive stars.  Howell Binkley's pastel lighting complements the sets and the 1960s costumes by Catherine Zuber.

How to Succeed... is set for an open-ended run, but I'll be surprised if it lasts past Mr. Radcliffe's contract period.

The Book of Mormon

"The Book of Mormon" at the Eugene O'Neill Theatre, March 7, 2011

In their first outing on Broadway, Trey Parker and Matt Stone, creators of the Southpark TV series and movies, have teamed up with Avenue Q's  Robert Lopez.  For any of you who have seen the Southpark films, you know restraint is not a feature of their writing style.  In an interview on The Daily Show this week, they confessed that writing a musical has been a common goal for years.

Looking back over many of the Southpark episodes, plus their film, Southpark: Bigger, Longer and Uncut, the two have been traveling in this direction for years.  The TV show has demonstrated a consistent fascination with the Mormon church, even dedicating the majority of one episode to the story of Joseph Smith, so when the opportunity arose to explore their musical theatre interests, it makes perfect sense that they would connect with Mr. Lopez, whose work follows a similar path of irreverence.

Spoiler Alert

The Book of Mormon, rather than focusing on a retelling of the Joseph Smith story, follows two mismatched young Mormon missionaries, Elder Price (Andrew Rannells) and Elder Cunningham (Josh Gad) on their mission assignment in the most brutal part of Uganda.  The authors offer frequent tributes to great moments in musical theatre history.  The Lion King gets the most attention in Act 1.  "Hassadiga Iboway" welcomes the boys to Uganda in "Hakuna Matatta-style" but with a very different translation, among other smaller references.  The daughter of the village leader is Nabalungi (Nikki James), still innocent somehow, despite the rampant AIDS, violence and genital mutilation that make up daily life.  She buys into the missionaries' message, dreaming of a better life in "Salt Lake City" - an erstwhile "Somewhere That's Green."

Price gets disillusioned by his assignment, having hoped for Orlando instead and tries to quit the mission.  During his absence, the task of conversion falls to Cunningham, who has a tiny problem with creative thinking outweighing the truth.  He leads the village to conversion drawing the attention of the home church, who sends officials to witness the baptisms.  Price, terrorized by a "spooky, Mormon, hell dream" returns to the mission with "I Believe," a tribute to Rodgers & Hammerstein reminiscent of, and borrowing a lyric or two from "I Have Confidence" from The Sound of Music.  On the day of the baptisms, the villagers perform the story of Joseph Smith, a la Elder Cunningham's twisted interpretation, with a King and I style number like "Small House of Uncle Thomas" - - brilliant!

Just like each episode of Southpark, The Book of Mormon ends with a tidy moral, that is, oddly, uplifting.  As much time as is spent running down the mythology and absurdity of religion in this show, the message is one that supports a place for faith and belief, even with a wink and a nod.

Directors Trey Parker and Casey Nicholaw have assembled an excellent cast.  Mr. Gad gets the benefit of the meaty role of Elder Cunningham and lets no opportunity go to waste - hysterical.  Ms. James' sings sweetly as Nabalungi, if a little bland at times. Mr. Nicholaw's choreography and musical staging, though not quite Robbins, enhances the proceedings.

The Book of Mormon is not for the thin-skinned.  Like the Southpark movie, no minority group comes away unscathed.  (I must say, even with Jackie Hoffman in the audience, the crowd of ironic hipsters almost outweighed the irony on stage.)

American Idiot

"American Idiot" at the St. James Theatre, September 12, 2010

Green Day comes to Broadway with this staging based on their 2004 album of the same title, broadening the original concept into a story of three friends, Johnny (John Gallagher, Jr.), Will (Michael Esper) and Tunny (Start Sands) who plan to abandon their small-town, suburban upbringing for the bright lights of the big city.  Will gets shot down before the trip begins when he learns his girlfriend is pregnant.  Johnny and Tunny make the trek, but Tunny joins the military in the aftermath of September 11 and ends up in Iraq.  Johnny falls victim to the lure of drugs under the spell of his dealer, St. Jimmy (Tony Vincent).

Each in their own way become the American Idiot they so much long to avoid, by the poor choices they make in their lives.  Will's marriage disintegrates before his eyes as he refuses to grow up and accept the responsibility he's put upon himself to raise a family.  Tunny, severely wounded in a roadside bombing, falls for a military nurse.  An aerial effect works nicely to convey the drug-induced dream sequence as he recovers from his injury.  Johnny falls in love with the oddly described Whatsername (Rebecca Naomi Jones) only to fall more seriously under his own drug addiction.

In the end, all three end up back in their small town to heal their wounds and try to figure out how to grow up.

Mr. Gallagher gives his role much more than the script does, a testament to his talent.  Mr. Esper's Will has the least to do of the three, other than sit on the couch and crack open another beer.  Mr. Sands finds a nice humanity in his character's conflicted spirit.  Mr. Vincent's St. Jimmy, a cross between the devil and the Child Catcher from Chitty Chitty Bang Bang slinks about and vamps it up for everything he's worth - a relative highlight of the evening.

Director Michael Mayer, well-acquainted with the rock musical concept keeps things moving, but has little to work with from his own thinly drafted book.  Steven Hoggett's "choreography" looks more like a suburban "broadway bound" beginner dance class.

The band is terrific, however, and the voices and visuals are good.  It's anything but a traditional musical, but it could stand a few more characteristics of one to strengthen the storytelling.

A Little Night Music (revisit)

"A Little Night Music" at the Walter Kerr Theatre, July 30, 2010

(photo: Joan Marcus)

With an impressive pair of replacements, I returned to see ALNM.  I'm so glad I did.  As much as I enjoyed the original cast (review: here), it is so nice to see how a change of actor can enhance a show.

Taking on the mantle of Madame Armfeldt from Angela Lansbury, Elaine Stritch gives a two-level performance, though perhaps unintentionally.  It reminded me a bit of when I saw the revival of "Nine" a few years ago and Eartha Kitt had taken over the role of Liliane LeFleur from Chita Rivera.  Then, Ms. Kitt as Ms. LeFleur was dreadful, BUT Ms. Kitt as "Eartha Kitt as Liliane Lefleur" was fabulous.  The effect is similar here with Ms. Stritch.  Her classic deadpan line readings don't quite deliver the sophistication one expects from Mme Armfeldt, but taking the performance as a whole, she does make a success of it.  There were a few bumpy moments along the way in "Liaisons" but only the truest fans who have the score memorized would have realized it.

Replacing Catherine Zeta Jones, Bernadette Peters as Desiree performs as though she's studied the role for years.  Her Desiree is quite a bit more world-weary than her predecessor.  She sees that not only is her beauty on the brink, so is her time to fill the rest of her life.  Ms. Peters does all this without coming across as jaded or cynical, but still hopeful that her chance exists.  At the moment when she thinks all is lost, the classic "Send In The Clowns," she sings through tears with heart-breaking emotion.  It is a masterful performance.

The rest of the cast remains strong overall. A few notes: Miss Mallory's Anne has taken on something of an odd drawl in her speech that feels a bit anachronistic at times, but her performance has grown during the run.  Miss Davie, too, has grown, finding nuance at opportune moments.


Miss Peters and Miss Stritch are on contract through November.  It will be interesting to see if the producers can come up with another pair of replacements this interesting when the time comes.

The Burnt Part Boys

"The Burnt Part Boys" at Playwrights Horizons, May 14, 2010

Playwrights Horizons brings their first new musical since 2008 and it's a welcome offering..

This new musical tells the emotional story of Jake and Pete Twitchell, brothers who lost their father in a coal mine explosion in 1952, the titular "burnt part."  Ten years later, 18 year old Jake (Charlie Brady) has dropped out of high school to work in the mines, while still taking care of his 14 year old brother since their mother has withdrawn from life with a bottle.  Pete (Al Calderon) lives in the fantasy of movies at the local drive-in, conjuring fatherly images of John Wayne as Davy Crockett in "The Alamo" along with Jim Bowie and Sam Houston (all Michael Park), since he can't really remember his own father.  Pete and his buddy Dusty (Noah Galvin) begin a quest to stop the mining company from reopening the burnt part, meeting up with Frances (Molly Ranson), a girl from their class whose father also died in the 1952 explosion.  Frances has exiled herself to the forest after the "scissor incident," involving the shorn locks of a taunting classmate.  The quest takes a predictable turn as Jake and his buddy Chet (Andrew Durand) follow the boys in an attempt to stop Pete from his plan.

Mariana Elder's book is functional, supported nicely by Chris Miller's score, less so by Nathan Tysen's greeting card lyrics.  It is Joe Calarco's direction and musical staging that hold this show together.  He elicits moving performances from his cast, superseding the material.  Standouts are Mr. Park in his multiple roles, Mr. Durand as Chet, Jake's best friend, and Mr. Calderon as Pete.  Brian Prather's simple set flexes well for the multiple location requirements, fully complemented by Chris Lee's lighting.

The Burnt Part Boys runs through June 13.

Discount offer from Playwrights Horizons:

THE BURNT PART BOYS

A New Musical

By Mariana Elder, Chris Miller, and Nathan Tysen

Direction and Musical Staging by Joe Calarco

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Order by May 24 with code BPGR and tickets are only

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HOW TO ORDER: Order online at www.playwrightshorizons.org. Use code BPGR.

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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.

Signs of Life

"Signs of Life" presented by Amas Musical Theatre at The Marjorie S. Dean Little Theater, February 21, 2010

(Photo: Joan Marcus)

The horrors of the Holocaust are again fodder for a new musical that explores the lives of the Jews sent to Terezin.  Composer Joel Derfer sums it up as:

Signs of Life is the story of a young girl who comes of age in the Czech ghetto Terezin, rechristened Theresienstadt by the Nazis, who filled it with Jewish artists, musicians, and intellectuals and turned it into a propaganda tool. Once she and her friends and family realize what lies in store for them, they begin to discover that some truths might be worth dying for.

As a freshman effort, Mr. Derfner shows promise with his score.  His is a more heavily sung-through approach to story-telling, first explored with composers like Richard Rodgers, and more recently with Boublil & Schoenburg, and Adam Guettel.  He hasn't mastered their finesse, but is on his way to finding his own musical voice.

The story told is compelling, of 19 year old Lorelei (Patricia Noonan) studying art and discovering boys, whose life is tragically interrupted and forever changed by the Germans.  Peter Ullian's book is functional, but does have a few burps here and there.  One is when Lorelei, who has obviously met her love interest, Simon (Wilson Bridges), instead trades a dumpling to the pan-sexual cabaret star, Kurt (Jason Collins), for her first kiss.

Ms. Noonan makes a noble effort to carry the weight of the proceedings.  She gets nice support from Mr. Collins, less from Mr. Bridges. Erika Amato as Berta Pluhar, a former Jew abandoned by her Christian husband sings well, but falls victim to poor direction and comes across as overplayed.  Allen E. Read's Officer Heindel provides a short-lived glimpse of humanity behind the torture of the Nazis.

Director Jeremy Dobrish has staged the show for a much bigger house than one as intimately sized as the Deane Little Theater.  From a clunky series of silhouette images at the opening (which looked more like lighting mistakes) to oversized emoting that might work in an 1500 seat Broadway house.  He would have done better to rely on the strength of the score and the story instead of inflating the staging beyond the scope of the hall.

Alexis Distler's sets of stacked suitcases effectively provides the reminder of all the bags that were packed by the doomed to be hauled off to their deaths.  Jennifer Caprio's costumes function well, as do Michael Gottlieb's lights.

The show runs through March 21.

A Little Night Music

"A Little Night Music" at the Walter Kerr Theatre, February 3, 2010

(photo by Joan Marcus)

Stephen Sondheim's A Little Night Music first bowed on Broadway in 1973.  Tales of potential Broadway revivals have floated for years until a tiny theatre, The Menier Chocolate Factory in London, started a string of stripped down revivals that have transferred over the last couple of years.  Among them, Sondheim's Sunday In The Park With George, which took residence via Roundabout Theatre Company in 2008.  Coming soon is La Cage Aux Folles, starting previews in April.  Under the direction of Trevor Nunn, ALNM has arrived in New York with a well-assembled cast including Catherine Zeta-Jones as Desiree in her Broadway debut.

Miss Z-J's Desiree is almost painfully beautiful, creating an interesting take on the role as a woman facing middle age who's gotten by on her looks, rather than her acting talent.  This Desiree is one from the bus and truck crowd of late 19th century Swedish theatre, a glamorous facade covering a woman growing lonely and tired of the continual games of lovers and roles.  Miss Z-J was not in her finest voice at this performance (though it was matinee day), but overall managed to find a lovely heart in the role. Her regret was almost palpable in Sondheim's only pop hit, "Send In The Clowns."

Nearly walking off with the show was Angela Lansbury as Mme Armfeldt.  This aging courtesan, now full of unsolicited advice and Wildean quips, lands each zinger with finesse.  "Liaisons" (one of my favorite Sondheim songs) sums up the evolution of the expedience of love and lust from the feudal system to the aftermath of the industrial revolution as she shares her exploits with and acquisitions.  Ms. Lansbury's performance is masterful.  She took home her 5th Tony for last season's Blithe Spirit and is likely lined up for another nomination.

As Frederick Egerman, Alexander Hanson brings a naturalism to the unsettled lawyer trapped in a new marriage with a friend's daughter that remains unconsummated.  His discomfort and resignation to middle age ring true.  As his son Henrik, Hunter Ryan Herdlicka never seems to find much beyond two dimensions.  Ramona Mallory,  playing Anne, the role her mother Victoria originated in the original Broadway production, is neither a lookalike or soundalike, but makes the role her own - an auspicious debut.  I look forward to her next outing.  Rounding out the cast are Erin Davie as Charlotte, giving us a glimpse of what Little Edie might have been had she actually married and left Long Island.  Leigh Ann Larkin cruises through the role of the maid, Petra, until "The Miller's Son" late in Act II turning the boast into a confession.  Aaron Lazar wins the vocal competition as Carl Magnus, flourishing through "In Praise of Women."

David Farley's low-key and adaptable mirror-panel sets were mostly visible under Hartley T. A. Kemp's minimal lighting. Mr. Farley's costumes were nicely serviceable as well.

Director Trevor Nunn has followed TMCF's tradition of musical "down-sizing" paring the story down to its core, with a focus on the story telling.  Even the once-lush score gets trimmed with a scaled-down 8-piece orchestra.  The reduction doesn't necessarily hinder the performance, but a fuller accompaniment might have gone a long way.  The show opens a bit darkly, with a funereal tempo and black-clad ensemble soon waltzing to Lynne Page's swirling choreography.

Nine (the movie)

When I heard that the tale of Guido Contini was coming back to film, I was excited.  Having seen the revival of Nine on Broadway in 2003 (even with the replacement cast), I had high hopes.  With Rob Marshall at the helm, following his great success with "Chicago" in 2002, the potential was great.

Casting announcements were also pretty exciting - - Penelope Cruz, Nicole Kidman, Judi Dench, Marion Cotillard, Kate Hudson, Sophia Loren, even Fergie - - quite a starry production.  I was skeptical at first when Daniel Day-Lewis was announced as Guido, but knowing his work in such a wide variety of characters, I thought he would be a pleasant surprise.

Then I went to see it last weekend.

(Spoiler alert)

Mr. Marshall has once again proven that there is not a formula for creating a successful movie (or stage, for that matter) musical.  Each is unique, and must be approached as such to maximize its potential.  Mel Brooks proved it recently with his adaptation of Young Frankenstein forced into the mold of The Producers.

Here, Mr. Marshall has crammed Fellini's story of a man in a mid-life crisis through his "Chicago" mold.  The musical numbers are all in Guido's head, instead of Roxie's this time around.  Plus, Mr. Marshall has reverted to a proscenium staging for the mounting of the numbers, rather than really making use of the flexibility that film offers.  There are some cuts back and forth, both in time and setting of the songs, but it's ultimately his "Chicago" film with music by Maury Yeston.  The parallel of "Cell Block Tango" to "Be Italian" was particularly prominent.

Bigger than that, however, was the total misconception of the central character.  Guido Contini (now turning 50 instead of 40) seems muddled and unfocused, but it's never really clear why. 

I never saw Fellini's "Eight and a Half" on which the stage version was based, but the main issue on stage was a flamboyant, wildly talented and sometimes manic man facing his mortality for the first time as he is about to turn 40. With several critical and popular successes from earlier in his career, Guido's last two films have flopped.  He has dived headlong into this new project, without a script or concept, and pulls from all the women in his life (of which there are many) for inspiration.

On screen, Guido is turning 50, to no concern of his, other than he's blocked to finding a new inspiration for his next project.  Fellini's film was titled "8 1/2" because that was the number of times he directed a film.  Cleverly, Mr. Yeston and Mario Fratti titled the stage version Nine, with Guido remembering himself as a boy about to turn 9, told by his mother that it's time to grow up a little, come out of his shell - a perfect parallel for a man facing and fearing 40.  All this is gone from the movie, leaving little motivation other than ego to drive Guido.

Most of the characters return, but some are inexplicably changed, undercutting the power of the source (the stage version).  Liliane Le Fleur (Miss Dench) has been rewritten as Guido's costumier and confidante, rather than his producer and mentor.  Miss Dench does as much as she can with it, but the simple notion that she's already designing clothes for a movie with no script or story is silly, carried so far as to justify the use of the "Folies Bergere" number. 

Kate Hudson's plot line and musical number are new to the story.  She's a reporter for Vogue, following Guido for an interview ("Who's your favorite designer?")  How do you spell anachronism?  Ms Hudson is excellent in her song, however, a runway number with lots of handsome skinny Italian man in skinny Italian suits, but it adds nothing to the film or the plot (other than about 10 minutes).

As Claudia, Guido's muse, Nicole Kidman gets to float in and out on her own terms, appropriately so.  Her song, "Unusual Way" is a lovely and tender farewell, pushing Guido away and ending their long professional relationship.  Miss Loren is given little to do in a role reduced to a cameo, other than appear pulled from formaldehyde and look glorious.

Penelop Cruz' Carla is obsessive to the point of pitiful.  This Carla doesn't seem strong enough to have attracted Guido in the first place.  Her number, "A Call From the Vatican" plays, as others have written, like a Victoria's Secret commercial.  I was impressed with her music and dance skills, never having really experienced either in her film work.  (Come to Broadway, Penelope - revive Irma La Douce if you want to play fallen virtue with a heart of gold.)

Marion Cotillard fares very nicely as Luisa, Guido's put-upon wife.  She also gets a new number, played as a strip tease that Guido imagines filming, in which she vents her anger toward him.

Mr. Day-Lewis' Guido just doesn't work for me.  He manages the physicality of it, with the whole Euro-skinny look of the early 1960s, but he never showed me the passionate Lothario that is Guido.  Guido is caught up in his head, but he's never unaware of his body, let alone any woman's around him.  Mr. Day-Lewis looks on occasion, but never leers, missing the passion within.

Altar Boyz

"Altar Boyz" at New World Stages, December 10, 2010

After an almost 5 year run, "Altar Boyz" is closing January 10, 2010, having played over 2,000 performances.  I've seen the show on two other occasions during its run, as it evolved from a full two-act production, to a 90 minute one-act.  Hatched from a successful premiere at the New York Musical Theater Festival in September, 2004, it moved quickly to its current home in February of 2005.

The first two visits were to a tightly-run performance, with some nuance and detail in the story of the Christian boy band of Matthew, Mark, Luke, Juan and Abraham.  In this last visit, the age is showing with character performances reduced to mere stereotypes.  Guiltiest of this was Travis Nesbitt's Mark, played more like a 15 year old girl, rather than the twink of questionable sexual orientation that Mr. Nesbitt's predecessor's accomplished more credibly.  Michael Kadin Craig's Matthew is also missing some of the pretty boy glamour of those who came before him.

Still it's a high energy evening, with plenty of heavy-handed laughs.