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.

Macbeth

"Macbeth" presented by Aquila Theatre at Gym at Judson, April 21, 2012

I first encountered Aquila when the company was in residence at the University of South Carolina.  Their approach to theatre was one of minimal production values but highly clever direction and staging.  Their production of The Iliad was eye-opening as they created the Argo using only a half dozen 6 foot poles. Aquila moved to New York in 1999 and has produced here regularly along with national tours and international performances. 

Their latest offering is the Bard's Scottish play, performed with a cast of nine on a bare stage at the spartan Gym at Judson.  Director Desiree Sanchez has the actors doubling and occasionally tripling roles, and for the most part, it works very well.  Working with Peter Meineck's elegant light plot, the stage is divided like a chess board.  Though Ms. Sanchez declines to overwork the concept of a chess match, she does exercise the squares of light to clearly define a sense of location.

Guy Oliver-Watts in the title role reflects his training, conveying a Macbeth of manic mood swings.  From time to time, his rubber-faced reactions undercut his intensity.  As his scheming bride, Rebecca Reaney plays the mood swings with a bit more success, immediately ambitious upon Macbeth's first success and quick to turn to darkness to achieve her aims.  Most successful in the cast was Peter F. Gardiner, primarily as Banquo, but giving nice turns in several other supporting roles.  Aaron McDaniel is a bit over-earnest as Malcolm, but with that head of gorgeous hair, it's an easy sin to forgive. Rachael Barrington stumbles in the male role of Rosse, but redeems herself as a bitter and frightened Lady Macduff.

It's a solid production, but lacks the clever and interesting staging I've seen from Aquila before.  Hopefully, they will get back to that with their next production.  Macbeth runs through May 6, 2012.  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.

Winter Wrap Up

Ok, it's been entirely too long since my last post.  Though silent, I've seen the following:

• Wit, presented by Manhattan Theatre Club at Friedman Theatre, January 17, 2012 - Cynthia Nixon takes on the role of Vivian Bearing, Phd, dying of cancer in this erudite memory play that retells her last days of suffering.  For all the heady use of language throughout the majority of the script, playwright Margaret Edson makes a puzzling turn away from the powerful use of language as her lead characters moans and wails through the last 10 minutes.  Ms. Nixon is effective, but didn't quite master the central gravitas of the role.
• Merrily We Roll Along, presented by Encores! at New York City Center, February 10, 2012 - Sondheim's awkward child gets another revision with a lengthened run courtesy of Encores!  It's nice to see the show after knowing the score for many years.  Most of the flaws remain, though there are some quality distractions.  Lin-Manuel Miranda nebbishes it up nicely as Charlie and Celia Keenan-Bolger discards glamour for the drunken Mary.  Elizabeth Stanley powers in a great Sherie Renee Scott knock-off as Gussie, but Betsy Wolfe doesn't quite give her Beth the charm and vulnerability we might have enjoyed from Kelli O'Hara.
• Carrie, presented by MCC Theatre at Lucille Lortel Theatre, February 15, 2012 - Stephen King is back on the boards and watered down with a flavor of Footloose.   In the title role, Molly Ranson sings sweetly, but gets held back by the tepid script.  Marin Mazzie as Margaret White, Carrie's mother, misses the bat-shit crazy mark needed to convey the danger of the religious fanatic. 
• How I Learned to Drive at Second Stage Theatre, February 17, 2012 - Only Norbert Leo Butz could turn such a creep into a sympathetic character.  Elizabeth  Reaser's Li'l Bit doesn't match his skill.  Supporting cast is good.
• The Lady From Dubuque at Signature Theatre, February 25, 2012 - The space at Signature's new facility is impressive - not a bad seat in the house.  The set is stellar.  The play, not so much, even with a pretty darn good cast.  Mr. Albee mixes themes from The Sandbox and Who's Afraid of Virginia Woolf  Laila Robins spews the bile and pain of her dying character.  Michael Hayden blusters and whines as the soon to be widower.  Jane Alexander is elegant in the title role - an angel of death, supported by Peter Francis James as her prancing henchman.
• Death of a Salesman at Ethel Barrymore Theatre, February 28, 2012 - The play has proven its artistry over and over again; it comes through once more in this revival.  I liked the use of original sets and music from its 1949 debut.  The casting doesn't quite work so well.  Philip Seymour Hoffman, quite the talented actor, just doesn't have the mileage yet.  In another 20 years, he'll be stunning in the role.  Andrew Garfield's Biff flails.
• And God Created Great Whales at Culture Project, February, 29, 2012 - Rinde Eckert is always interesting.  This setting of a man losing his memory as he completes a commission of a new opera based on Moby Dick.  Employing a series of portable, color-coded cassette recorders, he continues his work, under the watchful eye of his imagined muse (Nora Cole), who also prompts and guides his efforts.  The score, very much in the style of "contemporary opera" suffers under synthesized accompaniment.  When Mr. Eckert accompanies himself at the piano, things work much better.
• Shatner's World at The Music Box, March 4, 2012 - Relax, it was a free ticket provided by a friend.  Mr. Shatner reflects on his life and career, both highs and lows.  It was a pleasant diversion, but as expected, didn't really reveal much.
• Once, at Bernard B. Jacobs Theatre, March 8, 2012 - I've actually seen this twice already.  I'll make a separate post later.  (Hint: I really liked it.)
• Jesus Christ Superstar at Neil Simon Theatre, March 12, 2012 - The production arrives from Stratford Festival via San Diego.  Sir Andrew claims it's the first revival he's really liked, but apparently that applies to any revival of everything he's written.  Director Des McAnuff brings a flashy version of his go-to bi-level, scaffold-style set with an odd mix of costuming by Paul Tazewell (what was Magdalene wearing??).  He plays up Judas' obsession with Jesus, which could have made for more interesting interaction between Judas and Magdalene, had she not been so wooden.
• Now. Here. This. at Vineyard Theatre, March 17, 2012 - With such a likeable cast, it's easy to overlook the flaws in the latest efforts from the group that created [title of show].  The budget's a little better this time, demonstrated by a slick set from Neil Patel.  Each of the foursome offers revealing stories of varying painful and/or embarrassing memories.  The overall feel remains very much "off-Broadway revue."

Assistance

"Assistance" at Playwrights Horizons, February 9, 2012

Traveling familiar ground, the latest offering at the very consistent Playwrights Horizons is Leslye Headland's Assistance, about the struggling underclass of capitalist serfs, suffering at the hands of an unseen tyrant.  In this case the invisible antagonist is Daniel Weisinger, a highly volatile agent/representative (Barry Diller-like, perhaps?) in an unnamed industry, who wields fear, loathing and admiration from a series of put-upon administrative assistants.  At the top of the play, Vince, a slick and smarmy Lucas Near-Verbrugghe, celebrates the last day of his sentence before stepping up into a coveted "director" role (also undefined).  Following him up the corporate ladder is Nick, a likable Michael Esper, who takes on the part of chief torturer among the cadre of assistants.  Advancement comes at a high price.  Even Vince has to knuckle under to Daniel vagaries in his last moments as servant.

The "new meat" in the office is Nora, a sympathetic Virginia Kull, transferring over from the Siberia that is the "Canal Street office."  Like many before and after her, she's set her sights on duplicating, if not exceeding, the heights of fame and fortune achieved by her idolized boss.  It's a quick trip to disillusionment and jaded cynicism for her, as she takes her own lumps, as well as those belonging to others.  Beleaguered Justin, a very strong Bobby Steggert, spends most of the evening on the other end of the telephone, but shows up in Act II, after a typical "Daniel rant" lands him with a broken foot.

Heather (Sue Jean Kim) and Jenny, a very funny Amy Rosoff, round out the later victims, each getting a chance to take focus during funny, if distracting, monologues.  The relationship ups and downs between and among them aren't really surprising ("Nick & Nora" really?), as they try to maintain sanity while working for a lunatic.

Like I said, the terrain is quite familiar after "The Devil Wears Prada."  But this time, we don't get the benefit of seeing the villain in action.  The result is an extended sit-com, and could have easily filled a 30-minute slot with the same effect.

Director Trip Cullman moves things quickly, enhancing the sit-comish feel to the super-slick dialogue.  Jenny's final monologue does offer some interesting and unexpected quirks, but it's a long time coming.  David Korins' set succinctly and cleverly captures the essence of a hip, NYC office space.

Assistance runs through March 7.  See discount information in a previous post, along with a link to purchase tickets.

Discount Ticket Offer - "Assistance"

DISCOUNT TICKETS TO ASSISTANCE for BLOG READERS:

Regular run:  February 3-March 11
Tues 7, Wed-Fri at 8, Sat at 2:30 & 8, Sun at 2:30 & 7:30
Additional Monday evening perf February 27 at 7

Order by Feb. 21 and use the code HELPMEBLOG
$40 (reg. $70) for all performances Feb 3-19
$50 (reg. $70) for all other performances Feb 21-Mar 11

Online  http://goo.gl/ZY7ks
Call Ticket Central at (212) 279-4200 Noon to 8PM daily
In Person: Ticket Central Box Office, 416 W. 42nd Street between 9^th & 10^th Avenues

30&Under Party February 16 following the performance
All non-member tickets $25.  Use code PARTY.  Proof of age required at door.
Order at http://goo.gl/DpR5m

"Psycho Therapy" at Cherry Lane Theatre, February 6, 2012

In its return to regular programming for the 2011-2012 season, Cherry Lane Theatre brings us Frank Strausser's new comedy.  It's a bit fluffy, and could easily have been adapted into an episode of Frasier.  Actually, that might have been a better idea.

In this intermissionless, 90 minute, four-hander, we meet early-middle-aged Lily (Angelica Page), torn between the good-on-paper Philip (Laurence Lau) and the much younger and significantly richer Dorian (Jeffrey Carlson), all during couples therapy with psychologist Nancy (Jan Leslie Harding). Neuroses abound, from Nancy's chocolate fetish, to Lily's inability to choose, to Philip's fear of commitment to Dorian's fear of being alone.

Performances are generally even, but hampered by the two-dimensional writing.  For some unexplored reason, Lily is incapable of standing by a choice for more than three minutes, absurdly flip-flopping between the guys multiple times within a scene.  Ms. Harding's Nancy is the only performance that reaches for a third dimension as she flails over raising a teenaged daughter.

Whoever directed (unlisted in the playbill) pulls for the physical laughs instead of trying to mine the script, though that's a fairly shallow resource.

Production values are excellent; a gorgeous set by Michael V. Moore and solid lighting by Jeff Croiter.  If the script had met the bar set by these elements, it could have been a great night at the theatre.  Instead, it's an evening of little substance, but a couple of laughs.

Psycho Therapy runs through February 25.  Get tickets here.

Post updated 02/08/2012

Outside People

"Outside People" at Vineyard Theatre, January 7, 2012

Playwright Zayd Dohrn brings another tale of a stranger in a strange land to the NY stage with his Outside People.

It's an earnest and awkward effort, much like its main character, Malcolm (Matt Dellapina), a recent college graduate with no job or direction in his life.  His former roommate David, (Nelson Lee) has returned to his native China to start his own business.  He flies Malcolm over to work for his company as repayment for Malcolm's kindness to his when they were students.

David arranges a date for Malcolm upon his arrival with Xiao Mei (Li Jun Li), whose murky connection to David clears up a little obviously as the true nature of David's business is revealed.

Mr. Dohrn treads very similar ground to this season's Chinglish on Broadway, but without the laughs or the interesting characters.  Also similar to Chinglish are several scenes in Chinese, yet the audience doesn't get the benefit of super-title translations at the Vineyard.  The tone certainly come through with the tone of voice and inflection, but it's a particularly frustrating experience if there are audience members who actually do understand Chinese. Ultimately, Mr. Dohrn cuts through several old stereotypes while managing to support some new ones.

The cast does their best to give depth to their characters, but the writing is a little thin for them to accomplish much.  Director Evan Cabnet continues the trend of music loudly underscoring scene changes completed by the cast with no originality in sight.  Ben Stanton's combination set borrows a bit from Allen Moyers' 2006 design for Little Dog Laughed.

In the end, it's an unremarkable production performed by competent actors.  Outside People runs through January 29.  Get tickets here.

Relatively Speaking

"Relatively Speaking" at Brooks Atkinson Theatre, December 20, 2011

As the graphic indicates, this is an evening of 3 unrelated one-act plays.

First up, Talking Cure by Ethan Coen.  Mr. Coen, you make very interesting movies.  Please return when you have an interesting play to show us.  Of all the work I have seen you produce for the stage (Offices, Almost an Evening), none have met that category yet.

Second, George is Dead by Elaine May.  Coming across as Ms. May's version of Neil Simon, this is the better constructed piece.  Doreen (Marlo Thomas) turns up on Carla's (Lisa Emery) doorstep late one night announcing the news that George (Doreen's husband) is dead.  We soon learn that Carla is the daughter of Doreen's childhood nanny, and that Doreen remains a child in more ways than one ought at her age.  Carla, shoved into the role of nanny, succumbs and takes charge making arrangements.

Ms. Emery makes a valiant effort as Doreen's foil.  Ms. Thomas' Doreen seems to have been written (certainly costumed and styled) for Kathie Lee Gifford.  She wheedles and whines, sharing an analogy of conversations as "underwear stories" where she gets bored halfway through and stops paying attention.  It feels as though Ms. May did the same. 

Third, Honeymoon Motel by Woody Allen.  Mr. Allen starts with an interesting premise, then gives up and resorts to Catskill-comedy style one-liners for each character to mug.

Santo Loquasto crams a lot of scenery onstage for these three unrelated productions, each exceeding their source material.

It's hardly an auspicious directorial debut for John Turturro.  Perhaps he was distracted by his own preparation for his appearance in CSC's Cherry Orchard.  Perhaps he was merely underwhelmed by the poor material he'd been enlisted to stage.

Relatively Speaking is on an open-ended run.

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?