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.

OK, I'll Play Too!

I've seen lots of blogs post various "memes" but never found any of them particularly interesting. Naturally, that has changed with one I just saw at "Steve on Broadway."

Here's my two cents':

1. The first musical I ever saw on Broadway was (or if you haven’t seen a musical on Broadway): La Cage Aux Folles - It was late in the run with Keene Curtis as Albin and Peter Marshall as Georges. The costumes were tattered and torn, the Cagelles sloppy and seedy - - I was instantly hooked!

2. The musical I would most like to see again is: I have to say that The Light in the Piazza was one of the most complete experiences I've had at the theatre.

3. The musical I never want to see again is: Brooklyn - ugh! I'll never get those 90 minutes of my life back.

4. The best performance in a Broadway musical by a woman I’ve ever seen is: This is a tough one.

• Victoria Clark in The Light in the Piazza
• Christine Ebersole in Grey Gardens
  

5. The best performance in a Broadway musical by a man I’ve ever seen is: John Gallagher in Spring Awakening

6. The person I wish they never cast was: Christian Borle in Legally Blonde - what a waste of talent.

7. The person they should have cast was: Norbert Leo Butz in Young Frankenstein - what a missed opportunity.

8. My favorite Broadway choreography was in the show: Crazy for You

9. The lyric/line that always brings a lump to my throat is: From Miss Saigon, Chris sings in his confession to Ellen: "I just wanted to save and protect her. Christ, I'm an American! How can I fail to do good?"

10. The stupidest lyric/line I’ve ever heard is: Anything from Brooklyn.

11. The first musical I had to go back and see twice was: Les Miserables

12. The first musical I ever walked out of was: It would have been Brooklyn, had there been an intermission. That didn't stop others from doing so.

13. The most under praised and overly deserving show in my opinion is: A tie here for David Yazbek's The Full Monty (overshadowed by The Producers) and Dirty Rotten Scoundrels (overshadowed by Spamalot).

14. The most overly praised and under deserving show in my opinion is: Wicked - great production values, a cleverly adapted book, but what a dreadful score.

15. The song show tune I’m most likely to sing while I’m dancing around at home is: Another VERY long list - highlights:

• Love to Me - Light in the Piazza
• All the Things You Are - Very Warm for May
• Modern Major General - Pirates of Penzance
• Master of the House - Les Miserables
  

16. If I could recast any role in a current Broadway musical with a performer of the past it would be: This doesn't quite fit the caption, but I always thought that Judy Garland would have made the most amazing Mama Rose. Ever.

17. If I could recast a current actor in a Broadway musical that was before their time it would be: Isn't that what revivals are for? I did think that Julie Andrews would have made a terrific Norma Desmond had the timing on all that been different, particularly a film version of the musical.

18. The show they should never change a word of because it is already perfect is: Gypsy

19. The show I'd most like to get my hands on and rewrite is: Edward Scissorhands - it's been filmed and presented as dance, but Edward needs to sing!

20. The role I was born to play on Broadway is: There are so many! Luther Billis in South Pacific (it's still not too late, Lincoln Center - call me!). Frederick in A Little Night Music, Uncle Max in The Sound of Music. Amos Hart in Chicago (I'm available, Fran and Barry).

Crimes of the Stage

"Crimes of the Heart" presented by the Roundabout Theatre Company at the Laura Pels Theatre, January 26, 2008

It is a shame that such a crime has been committed. I have always considered this Pulitzer Prize winning play by Beth Henley as effectively a bullet-proof event. For me, it's in a category with shows like Gurney's The Dining Room or Gilbert and Sullivan's The Pirates of Penzance. One has to work pretty hard to mess it up. I remember seeing it produced twice in the same season by two community theatre groups in my home town of Columbia, SC in the 1980s. Both productions were excellent with completely different casts. It continues to be a strong standby for theatres needing a solid offering during any given season.

I was excited when I learned that the Roundabout was planning to put up a new production in their off Broadway space, combining the talents of Kathleen Turner, Sarah Paulson and Lily Rabe from the Williamstown Theatre Festival last summer.

I sat in disbelief, watching the evisceration of this dark comedy about three sisters from semi-rural Mississippi in a misguided attempt to combine Greek tragedy with 19Th century melodrama without the virtue of either. Director Kathleen Turner, who recently gave a delicious turn as Martha in Who's Afraid of Virginia Woolf? has totally missed the point of southern Gothic humor.

Her accomplice in this crime is dialect coach Deborah Hecht. (Note to Ms. Hecht: Dropping the "r" at the end of a word does not sound southern, it sounds affected.) As an American by birth, and a Southerner by the grace of God (ok, it's a bit much, but I'm trying to make a point here) I'm continually offended by the number of horrendous southern accents I hear delivered by (supposedly) trained and coached actors. Up till now, the worst I've heard is that poor woman in the Daisy Mae BBQ television commercials here in New York. She now has been outdone by Ms. Paulson and Jennifer Dundas in their respective roles of Meg and Lenny McGrath. (Note to Ms. Hecht: There are very few southern women who sound like Vivien Leigh. The only ones who do are Scarlett O'Hara and Blanche Dubois. Neither of those characters are from Hazelhurst, Mississippi in the 1970s.)

But I digress...

For those of you who don't know the plot: The three McGrath sisters were raised by their grandparents after their father ran off, which was followed shortly by the suicide of their mother. Babe (Lily Rabe) (now 24), married at 18 to Zach, an older and now very successful and powerful attorney in the state, has shot him in the stomach ("I didn't like his looks.") and has just been released after her arrest. Lenny (Jennifer Dundas) turns 30 today, is the spinster with a shrunken ovary and a matching self-esteem who has been Old-Granddaddy's caretaker since Old-Grandmother died a few years ago. He's currently in the hospital after his last health event. Lenny has been sleeping on a cot in the kitchen of the family homestead to be available to him at night as his health has deteriorated. Meg (Sarah Paulson) (27) returns from Los Angeles where she has been unsuccessfully pursuing a singing career. She fled there 5 years before in the aftermath of Hurricane Camille, which she rode out at the Gulf shore with Doc Porter (Patch Darragh), whose leg was crushed during the storm ending his hopes for a medical career. Doc has since married a Yankee girl and has two "half-Yankee" children. The McGrath's cousin Chick (Jessica Stone), lives next door to Lenny and Old-Granddaddy. (Note to cast: "Old-Granddaddy" is spoken as one word. Otherwise, it sounds like each use of it is to remind the audience that he's an old man - that's not why it's written that way. It's his name as used by all his grandchildren.) Chick is a busy-body from the old school - a combination of Gladys Kravits from Bewitched and Sister-woman Mae from "Cat on a Hot Tin Roof" but without the kindness. Chick has hired Barnette Lloyd (Chandler Williams) to represent Babe for the shooting as a favor to Barnette's mother.

As Lenny, Ms. Dundas gets the worst of the treatment. Even though her character mentions that she's losing her hair, that doesn't mean she doesn't know how to comb it. And her costume is inappropriate to the point of being miscast on its own (a long-sleeve polyester double-knit shirtwaist dress that couldn't have been a hand-me-down from anybody). She's on the verge of old-maid-hood, but here she looks and acts like she's turning 50 instead of 30. Her accent fails her, as does her director. Lenny does develop a spine during the course of the play, which results in chasing cousin Chick out of the house with a broom. If Lenny really had the opportunities to wail on Chick like Ms. Dundas did on Ms. Stone, Ms. Stone would still be lying on the stage bleeding. Instead, we got a bit of poorly staged running around the kitchen table.

Ms. Paulson is also poorly served with a truly tragic long blond wig. I can't believe that's where the Roundabout ran out of money. Otherwise, she looks great. Her Meg, however, lacks the raw sexuality that would lead her former inamorato astray, as well as the restless nature that drove her out of Mississippi in the first place. She seems perfectly content to be home, when that's the last place she ever wanted to see again.

Ms. Rabe's Babe is only slightly more successful with her accent, but is poorly directed. A woman, whether she married at 18 or not, who married a successful attorney would not fold her legs up under herself (like the oft-referred-to yellow cat) every time she sits down. One can be relatively certain that Babe has learned how to behave among polite society, and knows to display proper behavior, even among those to whom she is closest. This Babe is at times lifeless, which runs completely counter to her dialog. I also had to wonder why she and Meg had the same long blond hair. Though Ms. Rabe's is natural (which further pointed up Ms. Paulson's dreadful wig), it's out of character.

As Chick, Ms. Stone seems to be the only one in the cast who really gets the required matter-of-fact delivery style required for this play. Bossy and presumptuous, she still suffers too from the poor staging and direction.

Chander Williams, sadly, is totally miscast as the meek milquetoast Barnette. Mr. Williams' Barnette is a bantam rooster (putting quite the fine stretch on the chest of his dress shirt and the seat and thighs of his polyester gabardine pants, I might add). When he rhapsodizes about his "personal vendetta" against Babe's corrupt and abusive husband, one wonders why, instead of strutting around the kitchen with his arms folded back and bobbing his head, he hasn't just gone round to deliver the well-deserved punch in the nose to Zach. He certainly appears capable of such. (Note to Ms. Turner/Ms. Rubin: Barnette is supposed to be a geek, quite young and a bit on the awkward side.) This appearance also undercuts what should seem the tender beginnings of a new and unlikely relationship between Babe and Barnette. No wonder she remembers having sold him that pie a few years before - he's hot!

Mr. Darragh fares a bit better as Doc, solid and credible. He still looks good in those jeans, even with the semi-gimpy leg as Chick's lascivious once-over attests early in Act I. He also manages to avoid some of the leaden pace that pervades this production.

David Murin's costumes are, for the most part, uninspired. Seems that Lenny only owns the one dress which she apparently puts back on after going upstairs to get some sleep along with little old lady sandals (in October?). Ms. Rabe is left in a couple of unflattering shades of yellow (like her Mama's cat again, I suppose) and Ms. Paulson gets the joy of mismatched blues (royal and teal - I don't remember that from the 70s). Just because Chick describes the girls as the "trashy McGraths" doesn't mean they're color blind.

Natasha Katz' lighting gives no sense of time or its passing, whatsoever. The brightest spot of production values for the evening is Anna Louizos' aged kitchen set even though there's a particularly awkward placement of the sink, refrigerator and stove.

I hadn't remembered seeing any reviews from when Ms. Turner directed this play last year at Williamstown, but found the Variety review here. and another from Curtainup.com here. Accounts of that production were excellent - not ground-breaking perhaps, but excellent nonetheless.

What happened to that show? It's the same cast with an improved budget in an excellent auditorium produced by a well-known and successful theatre company. Why did the pace of every scene feeling like pouring cold molasses? Why were transitions endless, as though they were place-holders for commercials? Why did the line deliveries feel like MacBeth? The well-known secret to playing comedy is to play it straight, not wring the life from it. Where was the subtlety? Where was the truth?

Where was Ms. Turner? Did she expect her work from last summer to revive itself?

I also found a quote from Ms. Turner from an interview she gave about the Williamstown Theatre run last summer. She refers to the night Ms. Henley attended a performance, "She was crying at the end," said Turner. "She said, 'I've forgotten how the play felt.' "

I can only imagine how she'd feel now.

Remembering Loss

"Next to Normal" at Second Stage Theatre, January 20, 2008

"Next to Normal" is at first a tale of typical family dysfunction in the new millennium. Among the innocently named Goodmans, Gabe (Aaron Tveit) comes in very late to find his mother Diana (Alice Ripley) waiting up for him. Hearing his father Dan (Brian d'Arcy James) stirring, she quickly sends Gabe off to bed before his father enters the room. Gabe says, "Why does he hate me?" Gabe's sister Natalie (Jennifer Damiano) is on the straightest and narrowest path she can find to get out of high school and her parents' house and into Yale on a music scholarship. Her classmate Henry (Adam Chanler-Berat) has a crush and finally strikes up a conversation which leads to a relationship. Meanwhile, Diana has a melt-down at Costco and we learn she's been on medication for depression, et. al., for the last 16 years.

(Spoiler Alert)

With a generic rock score by Tom Kitt, (who is better partnered this go-round than his last effort High Fidelity) and book and lyrics by Brian Yorkey, "Next to Normal" takes us into the dark world of a family who can't escape the loss of their first child. It takes a while to reveal this, and even longer to learn how he died, but the effort is a worthy one. The songs do what songs are supposed to do for the most part, expand on character and/or further the plot. The result is reminiscent of William Finn's "Falsettos" with its heavily integrated score, but here there are no tunes to hum along as you leave the theatre, other than the music box tune "I Dreamed a Dance with You" (that starts off sounding remarkably like "Real Live Girl" from Little Me).

Mr. Tveit's Gabe (ostensibly, an angel) would be around 18 years old, though he comes off a bit less mature, probably resulting from the fact that he's primarily a deluded projection of his mother's mind. He gives a strong performance with a powerful voice, although his "I'm Alive" song drags out about 64 bars too long (not necessarily the actor's fault there).

As Diana, Ms. Ripley capably demonstrates the struggles of a woman swallowed by her own grief, but also seems to struggle a bit vocally with the musical style of some of her songs. She gets a few good lines here and there. In her first session with a new psychologist As she regains her memory following the electric shock therapy, it's very moving to see her experience the grief of losing her son all over again late in Act II.

Mr. d'Arcy James' Dan Goodman is just that, a good man. He only wants what is best for his wife and family and does everything he knows how to provide a stable and happy life for them. Credit to Mr. Yorkey for the really interesting twist at the end when Dan recognizes Gabe's presence and we learn he's starting his own counseling to deal with his own grief. It's particularly interesting because it's not clear whether Dan's step in that direction will be a healing one or not. Like Ms. Ripley, he had occasions vocal struggles here as well, perhaps the result of vocal arranger AnnMarie Milazzo's efforts. His plea to Diana to undergo the shock therapy "Light in the Dark" is touchingly effective.

Ms. Damiano had a more difficult time as the straight and narrow surviving child Natalie who takes a particularly late and sudden turn to pilfering her mother's drugs to insulate herself from the dysfunction around her. She's on the verge of graduating high school with good chances of a college scholarship to take her away. I just didn't understand why she would make such a choice with her goal so near, despite a bad showing at her piano recital because her mother didn't attend. Mr. Chanler-Berat's Henry, Natalie's boyfriend, sweet and tender, awkward and loving, wants to help but really can't grasp all that she's dealing with. It's too bad there wasn't more chemistry between them, despite his efforts.

Mr. Yorkey's book is basically solid, but the music box plot contrivance didn't work for me in the contemporary setting of the play. Musical sounds for infants at what would have been the time of Gabe's birth were more often built into toys and crib mobiles rather than an old-style music box.

Michael Greif has done pretty well with this new material though some of his supporting creative team hasn't made it so easy. Kevin Adams' lighting overpowers on occasion, masking Sergio Trujillo's musical staging (which hints at pole dancing from time to time). It's not a happy musical, but the catharsis is satisfying overall.

Mark Wendland's three-level black and white stage pulls from current Broadway shows, with industrial flavor from Klara Zieglerova (Jersey Boys, The Farnsworth Invention) as well as bone-like references of construction from Todd Rosenthal (August: Osage County) and James Noone (Come Back, Little Sheba). Jeff Mahshie's costumes use color effectively to tie both characters and mood together.

Perfecting Codependence

"Come Back, Little Sheba" presented by the Manhattan Theater Club at the Biltmore Theatre, January 13, 2008

William Inge's classic play of dysfunction and longing returns for its first Broadway revival under the sensitive direction of Michael Pressman. He has assembled an admirable cast. The story centers around Lola (S. Epatha Merkerson), a faded beauty married and childless slogging into middle age. She longs for happier times and her dog Sheba who ran away sometime ago. Her sometime-recovering-alcoholic husband Doc (Kevin Anderson) longs for the youthful freedom he never had, as well as Marie (Zoe Kazan), the college student who boards with them.

Ms. Merkerson braves the challenge to take on a role so closely associated with the inimitable Shirley Booth who originated the role of Lola on stage and on film winning both a Tony and an Oscar for her portrayal. I've never seen the film, but I can easily imagine the power Ms. Booth brought to that performance. Ms. Merkerson's Lola is a woman lost in her love for a man who can't raise himself to what he wants to be, and lost after the death of their child during childbirth. She is prompted to action by Marie, who serves as something of a surrogate child. Yet she remains child-like and starved for companionship, striking up conversations with the postman and milkman, and developing an odd friendship with her neighbor.

Mr. Anderson's Doc is the strongest characterization of the cast. His desire for Marie torments him more than the bottle of bourbon in the pantry. After being pushed over the edge, his drunken violent rage was particularly visceral.

Ms. Kazan continues to establish herself as one of the brightest stage talents in New York. Her Marie is practical and forward-thinking, juggling romance with two boys, school athlete and classmate Turk (the delectably athletic Brian Smith) and her long distance boyfriend Bruce (Chad Hoeppner) who shows up with a ring and sweeps her off late in Act II.

I made comparisons to Mr. Inge's work in my comments on "August: Osage County" which seem all the more relevant after seeing tonight's play. I also noticed some striking comparisons to characters in Mr. Inge's "The Dark at the Top of the Stairs," faded beauties discovering themselves stuck in middle age with undependable men who require their support instead of being the support they thought they had chosen.

James Noone's semi-skeletal set functions relatively well, though also reminiscent of the set for "August: Osage County." Must be something about Midwestern dysfunction that inspires such a design. I did find the set a bit ineffective with some action taking place upstage left blocked by the lace curtains surrounding the front door for those of on the right side of the audience. Jane Cox's lighting added the appropriate level of intimacy.

Mr. Pressman is to be commended for his work here. Pace and intensity provide a nice flow.

Strange Bedfellows

"November" at the Ethel Barrymore Theatre, January 5, 2008

David Mamet's latest play "November" has begun performances with Nathan Lane playing an incumbent president on the verge of losing his re-election bid. The jokes begin early with plenty of less-than-veiled references to the current situation in US politics. (Spoiler Alert)

Taking place late in the week before election day, there's an unpopular war in Iraq, instigated by this now unpopular (and presumably Republican) President Charles Smith (Mr. Lane). His Chief of Staff, Archer Brown (Dylan Baker) quickly summarizes the source of his issues, "You've f****d up everything you've touched."

President Smith's unseen campaign director Barry has already given up the ship and headed to Nantucket to ride out the aftermath. His head speech writer, Clarice Bernstein (Laurie Metcalf) has just returned from adopting a Chinese girl with her partner, their new child and the flu. Smith demands her presence despite her illness in a last-ditch effort to save his legacy. A Representative of the National Association of Turkey By-Products Manufacturers (Ethan Philips) has arrived with two turkeys in tow for Smith to provide the annual "pardon" for this year's Thanksgiving at a press conference to be held the next day. Seizing on the opportunity, Smith demands the Turkey Association to increase their donation from $50,000 to $200,000,000. When they balk, he attempts to discredit the consumption of turkey at the original Thanksgiving in favor of tuna ("Isn't the Indian word for codfish pronounced "toona?"). He then insults the head of one of the Indian nations, after declining the chief's request for the island of Nantucket on which the Indians would build a 2000 bed hotel and gambling casino in exchange for endorsing the "toona" story.

Clarice drafts a quite moving speech in her feverish state, then demands that Smith marry her to her partner before she gives him the speech to deliver, during the press conference when he pardons the turkeys. Her plea unwittingly convinces Smith to try to win the election using the money from the Turkey Association.

So there it is, gay marriage, the war in Iraq, Native American relations and a threat of bird flu all peppered with enough racial and politically incorrect insults to make you think it was by Mel Brooks, except for the missing bathroom humor. There are plenty of funny moments in this evening of one-liners (Smith: "I always thought I'd do something memorable. I assumed it would be getting impeached."), and the energy of the production is good. Mr. Mamet's use of the "f" word as his go-to adjective is as faithful as ever in this play, though he hasn't matched the 12.5% penetration high water mark he set early in his career with "American Buffalo." Still, it felt a bit like a sitcom love-child of NBC and HBO, dragged out in 2-act form. Some trimming would be in order to the tune of about 25 minutes plus the intermission.

Mr. Lane is in his most Gleason-esque form here, rubber-faced and chewing up the remarkably beautiful Oval Office set by Scott Pask. He's got all the great tricks at hand, telephone calls and asides. Mr. Baker is suitably obsequious, playing straight man to Mr. Lane's antics. Ms. Metcalf's Clarice is passionate and real, despite some of the stereotypical dialogue provided by Mr. Mamet.

Joe Mantello directs, keeping the play moving appropriately apace.

Loverly

"Pygmalion" presented by the Roundabout Theatre Company at the American Airlines Theatre, December 12, 2007

This classic tale of creation, as told by George Bernard Shaw has been carefully revived by the Roundabout under the wise direction of David Grindley, who so skillfully brought WWI in last season's revival of "Journey's End."

Mr. Grindley has assembled a diverse, yet talented cast including Claire Danes in her Broadway debut as Eliza. Ms. Danes does come from a stage background, but primarily as a dancer before her breakout portrayal of the vulnerable and misunderstood teen in the excellent but short-lived "My So-Called Life" on television.

As Higgins, Jefferson Mays brings his significant skill to play as an overgrown boy, a spoiled technician who spends his intelligence on the minutiae of dialects rather than pay attention to those around him. This callow portrayal works very well, fulfilling Shaw's own interpretation that there was never any intention of romantic feelings between Eliza and Higgins. Boyd Gaines, turning in yet another solid and commendable performance this year, plays the shy, if sometimes befuddled Pickering, bringing the needed tenderness to Eliza's journey from the gutter to the ballroom.

In supporting roles, Jay O. Sanders' Alfred Doolittle is a blustering bear, reduced to Davey's lion with the thorn once the weight of middle class respectability has become his burden to bear upon his inheritance.

I give credit to Ms. Danes for taking on one of the theater's more challenging roles. In her case, it requires significant effort in that she must master not one, but two accents and pull off the transition from one to the other seamlessly. Her youth does show through in her first scene at Mrs. Higgins' (and the discussion of "the influenza" and "the straw hat what was to have come to me"), tossing away several of the jokes. She seemed to be missing a certain conviction of self - even though Eliza is still in mid-transformation. There were also a few moments in the second act when she still seemed to have the marbles in her mouth, but perhaps I'm expecting too much. Overall, she was lovely and performed admirably.

Sets and costumes are up to the Roundabout's usual standards of excellence under the talents of Jonathan Fensom. I'll admit that I'm a sucker for a rainstorm onstage - love that. I also liked the cinematic effect of the diagonally traveling set wagons and blackout curtains. Jason Taylor's lighting was an effective complement.

Do You Hear the People Sing? (One or Two, Maybe)

"Les Miserables" at the Broadhurst Theatre, December 12, 2007

A couple of months ago, I posted my thoughts on last season's revival of "A Chorus Line" and described it as a second national tour. Having seen this third national tour of "Les Mis" I have to say that I spoke too highly before. ACL, compared to LM, is actually more of a non-equity regional production.

This production of LM, initially to be a "limited run" of some six months, has recently announced a closing date of January 6, 2007. Time to get back on the road, I suppose?

I also have to say that LM is one of my favorite scores in the world. I've seen it three other times, once in Washington, DC at the Kennedy Center prior to its Broadway debut, again in the first national tour (also in Washington, DC) at the National Theatre, then a later tour at Oven Auditorium in Charlotte, NC. The first production was truly mammoth, the most enormous thing I'd seen on a stage. The second was scaled down, but it was then I realized that what made the show work so well was the music. Even the third was the last show in a five-show weekend and the tenor singing Valjean sounded completely exhausted. It was still thrilling.

Now, at least fifteen years later, I finally got to see LM in New York. The score is still thrilling, but there's much that has been lost in nearly 20 years of touring.

John Owen-Jones, billing himself as the youngest actor to have played the role when he was 26. (Yes, my first thought was "casting mistake" too.) This must have been many years ago. His younger Jean Valjean through much of the first act, came across with an odd feeling of Jonathan Pryce. As he aged, the interpretation came off a bit more traditional, if a bit vocally indulgent, particularly in "Bring Him Home."

Another disappointment was Gary Beach's Thenardier. I had high hopes for him in this role, yet it appears he's gotten his first laptop and was just emailing his performance in. Jenny Galloway snatches away the comic focus in her two brief lines in "Master of The House." She maintains that control in all of her remaining scenes as well.

A lovely ray of light was Judy Kuhn's Fantine. In great voice, and hovering head and shoulders above all those around her with her performance, I was anxious for her reprise late in Act II.

In the meanwhile, I suffered through Associate Director Shaun Kerrison's mediocre restoration of Trevor Nunn's work in scene after scene that had degraded from powerful and thoughtful moments, to the lowest common denominator of only going for the laugh. One of the most regrettable examples of this was Marius' (Adam Jacobs) giving us what should have been a vulnerable young man making his first testament of love, but turned out to be a poor Al Jolson-style, one-kneed, minstrel plea. The romance and tenderness were shattered.

Mr. Jacobs also demonstrated a vocal weakness shared by many of his cast mates, including Max von Essen as Enjolras, neither of whom projected much past the 3rd or 4th row. Two roles of such passion should be presented by particularly strong voices. I think the sound design was also a factor. Even Gary Beach was just about unintelligible on every line. I realize it was a two-show day for these guys, but the Wednesday ticket-buyers deserve the same performance seen by the audience on a single-show day.

Megan McGinnis struggles similarly as Eponine. After a lovely and touching performance as Beth in "Little Women" three years ago, she's in a role that requires more voice than she's got. Again, sound design could be an issue - the orchestra totally overpowered her in "On My Own."

Leah Horowitz' Cosette is best described by the late Anna Russell when she discusses how to write your own Gilbert and Sullivan operetta, "...the British piercing soprano one finds in these sort of operas...she's very sweet." Sweet, bordering on the precious, I must add.

John Napier's production design holds up as well as can be expected for 20 year old technology.

Nonetheless, the show finishes on a high note. If only the rest of the show carried that level of thrill.

The Devil and Danny O'Webster

"The Seafarer" at the Booth Theatre, December 2, 2007

(Photo by Joan Marcus)

Conor McPherson's latest supernatural tale of from the Emerald Isle has arrived, and for one who's been a bit tired of Irish drama lately, it's a welcome addition to the current Broadway play season. Following last year's ghost story in "Shining City" at Manhattan Theatre Club, Mr. McPherson is now taking on the larger spectrum of faith. In "Shining City" Mr. McPherson took on ghosts and guilt. This time he's broadened the demons of guilt to the ultimate battle of good and evil - man vs. the devil.

Richard (Jim Norton), recently blinded after a hitting his head in a drunken episode is being looked after by his brother Sharky (David Morse) who has recently returned home after losing yet another job. Drinking buddy Ivan (Conleth Hill) can't seem to find his way home to his family, encouraged by Richard to keep the booze flowing. Soon enough Nicky (Richie Coster) shows up. Seems Nicky stole the love of Sharky's life not so very long ago, contributing to Sharky's inability to focus on anything. In tow, Nicky has brought along one Mr. Lockhart (Ciaran Hinds), something of a misfit among this motley crew of Irishmen. Each of these men is fighting their own individual demons.

Part of Sharky's return is his goal to stop drinking for a while, to see if he can get his life back on track. Richard will have none of that, taking every opportunity to make that choice more difficult for Sharky. When Mr. Lockhart shows up, we learn that he and Sharky had met once before, after Sharky beat a man to death 25 years before. A jailhouse card game won by Sharky compelled the not-so-human-but-really-Lucifer-not-Lockhart to create a diversion where Sharky was released and never charged.

As Sharky, Mr. Morse still maintains a boyishness that belies his whitening hair. In fact, until it was stated, I thought he was Richard's son. His Sharky is shaky and nervous, first from alcohol withdrawal, then at the thought of life in the hell that Lockhart describes in vivid detail. It's a solid and notable performance. Sharky's demons from 25 years ago return as Lockhart demands a chance to win Sharky's soul in a rematch card game.

Mr. Coster, tall and rangy, his Nicky comes across a bit fey with a special delight in his Versace leather jacket. Mr. Hill's Ivan brings a bit of Benny Hill to mind, as he searches for his glasses lost during the previous drunken night, fumbling about the house for two acts. His demons are also revealed to connect with Lockhart as well, stemming from a fire that killed two families.

Mr. Hinds' Lockhart comes off a bit glib at first. His well-heeled look seems out of place among the his drunken compatriots. His Lockhart does belie his own goal of collecting another human soul, yet appearing so uncomfortable in the human shell he's assumed. It's interesting that the demon of alcohol weakens Lockhart as he torments Sharky.

Mr. Norton is the one to watch. He flails and fumbles as he adjusts to his recently lost sight. Richard's blindness has little impact on his inability to care for himself - many times charging off fueled by a constant flow of whiskey. His mix of physical comedy and detailed characterization is masterful.

Mr. McPherson, who also directs, gives us an excellent evening in the theatre. From the fine performances he's coaxed from his talented cast, to some clever nuances (watch the candle under the picture of Christ that hangs in the upstairs hallway), he has translated his work from paper to stage quite successfully.

Rae Smith's sets and costumes thoughtfully portray the worn-down lives of these men. I thought the flashes of red in Lockhart's ensemble (tie and suit jacket lining) were a particularly nice touch. Neil Austin's lighting ably assists, though some effects when Lockhart flexes his power come off a bit cheesy.

Third Person Jimmy

"Doris to Darlene" at Playwrights Horizons, December 1, 2007

This new play by Jordan Harrison takes an clever concept, hints at moments of interesting possibility, but doesn't really deliver in the end.

There are actually three story lines in the play. The title refers only to one of those, which is the grooming of a young bi-racial woman, Doris (De'Adre Aziza) in the 1960s into a pop star, with a song based on Richard Wagner's Leibestod from "Tristan and Isolde." (First I'll have to say the Peter Schickele's tango version of the tune is a much better twist, than the doo-wop schtick of which we only hear a little.) There's a bit of "Dreamgirls" in this subplot, grooming a shy but talented young woman to stardom by a too-slick (and white) songwriter/producer Vic Watts (Michael Crane) likely modeled on an early Phil Spector, before the handguns. The second subplot is that of crazy King Ludwig II of Bavaria (Laura Heisler) and his infatuation with Richard Wagner (David Chandler), building rooms and grottos in his fantasy-land castles based on tales from Wagner's operas. The third subplot concerns a contemporary high school boy, only identified as "the Young Man" (Tobias Segal) and his fey Music Appreciation teacher Mr. Campani (Tom Nelis). The Young Man is coming to terms with his sexual orientation and sees a fellow sufferer in his teacher.

Director Les Waters has gathered, for the most part, a very talented cast to perform this work, which doesn't equal the talent being given to it. Ms. Aziza's Doris absolutely looks the part, and sings adequately, but never really gets beyond the two-dimensional writing she's been given.

Mr. Crane's Vic is sleazy, greasy and fast-talking. When he ends up married to Doris, now renamed Darlene DuPont, the relationship is doomed as his writing style falls out of style with the British invasion. Mr. Crane also does a nice job in the Young Man's story line as the hot bad-boy Billy Zimmer, an object of the Young Man's affections.

As Wagner, Mr. Chandler brings us a talented, if manipulative, composer who understands on which side his bread is buttered. Ms. Heisler's Ludwig brings a fresh vulnerability to the young king, an interesting and effective casting choice more often used in opera than traditional theatre.

Mr. Segal's Young Man quivers and quakes in his own vulnerability, eager to know what his life will be like, but totally unsure how to find out. Ultimately, it is Mr. Nelis' Mr. Campani who is most effective in his roles (he also doubles as Doris' grandmother). This teacher, a former vocal student himself who gave up his own dream of a performance career and suffers through his life unfulfilled by his own students who only take his class because they think it's an easy A. His tension with Mr. Segal is palpable as the Young Man asks the teacher if he's attracted to the Young Man. The older man knows the question is truly innocent, but understands the impropriety with which an honest answer would be viewed.

As I mentioned at the beginning of this post, Mr. Harrison starts with a clever concept. Where he errs is that just about all of the dialogue in this play is spoken in third person (remember the Seinfeld episode with Third-person Jimmy? Hence the title of this post). The only subplot that ever gets close to actual dialogue is the Young Man's, and even then it's inconsistent. Stephen Flaherty and Lynn Ahrens, as well as Terrance McNally have all used a third person technique to end a play (Ragtime, Glorious Ones), but here it only falls flatter than the two acts that preceded it.

Production values were satisfactory, if unremarkable, with sets by Takeshi Kata, lights by Jane Cox and costumes by Christal Weatherly (while Wagner's dressing gown was notable, Mr. Campani's pink bow tie pushed the stereotype just a bit too far).

Click here for a discount ticket offer from Playwrights Horizons.