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On The Town (Broadway) – Review

On The Town

A town’s a lonely town, when you pass through and there is no one waiting there for you, then it’s a lonely town.

A surefire (at least temporary) cure for that loneliness is to head over to the Lyric Theatre for the most recent (nearly perfect) revival of On The Town. Leonard Bernstein’s moving and joyful score (conducted by John Miller) and Jerome Robbins’ inspired dance would be enough to lift one’s spirit and believe that New York is in fact a helluva town. But the execution of Betty Comden and Adolph Green’s Book & Lyrics are what make this production soar. Much attention is paid to the dance and that’s the way it should be. On The Town is first and foremost a dance show (originating from by Mr. Robbins’ ballet, Fancy Free.)

Director John Rando understands and allows the dance and general movement to tell much of the story. He choreographs additional movement having the actors move through the house several times (to varying effect.) This device works best during Lonely Town as Ensemble members sing plaintively to the house. This might not work with every cast but this Ensemble is flawless and inspiring. There seems to be nothing they can’t do. Much of the principals are equally up to the task. Tony Yazbeck is a poignant Gabey, and I wished for more stage time for him. His sailor brothers, Jay Armstrong Johnson (Chip) and Clyde Alves (Ozzie) are no less wonderful but saddled with much more distraction than Gabey. The purest moments happen when Gabey is on stage.

That purity (otherwise known as relying on the brilliance of the material) is widely in place. The orchestra (Yes, and actual in-house orchestra!) is stupendous and spot on. The sets are clean (Beowulf Boritt) yet evocative and only add to the experience. Much of the casting generates the same effect. Megan Fairchild (Ivy) is a principal dancer with the New York City Ballet and makes her acting debut  with On The Town. She holds her own up there and is a brilliant dancer. It’s never quite clear what the attraction is between she and Gabey however. Alysha Umphress is a very entertaining Hildy, and while my heart still belongs to Leslie Kritzer (in the NY City Center Encores! 2008 production) Ms. Umphress was very good. Elizabeth Stanley plays Claire, who is obsessed with the primitive man, or any man for that matter. She has a lot of personality but might not be best suited to the role. Not a dancer and by nature a booming singer, her performance was a bit too burlesque for that of Claire (originated by Betty Comden.) The characterization made for very little difference between Hildy and Claire. Mention must be made of Philip Boykin who opened the show with I Feel Like I’m Not Out of Bed Yet. He enlivened and deepened every character he played and was an absolute joy to behold. The audience’s favorite however was Jackie Hoffman. Playing the Little Old Lady, Maude P. Dilly and others; she is on stage an awful lot. This role was played by Andrea Martin in the 2008 Encores! production. Ms. Martin was funny and lovely and pitch perfect. I longed for her. Ms. Hoffman’s portrayal (of everyone) was cartoonish and the audience loved it. But nothing, not even the thickest slice of ham can spoil this New York specialty. Yes the costumes (Jess Goldstein) were more suited to the Guys & Dolls gangsters and gals. The addition of overt sexuality and discomforting homosexual stereotypes was distracting and in very bad taste. And yes it was a bit odd to have the show stopped to sing Happy Birthday to & discuss the career aspirations of (presumably) a child of one of the (THIRTY) producers. But the truth of the matter is that three hours flew by and there was never a dull moment. And sitting with all those wonderful people in the dark, soaking in one of the great American Musical was the panacea for a lonely town.

 
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Posted by on October 14, 2014 in Uncategorized

 

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The Time Of Their Lives

There was a time when the Catskills were the summer destination of thousands of New Yorkers. The bungalows and hotels of the area were known collectively as The Borscht Belt, as the clientele was predominantly Jewish.  Some families came for the entire season (the father coming up for the weekend) others for a week or two.  The heyday was in the 1940s and 1950s, and started to ebb in the 1960s.  Tastes change, the world changed.  Today, middle and working class families rarely vacation together for an entire season.  Private space is far more coveted than communal living and/or dining.  The grandchildren and great-grandchildren of the Catskills take their families to the Hamptons, The Rockaways or down the shore.

A few of the Catskill’s famed physical structures still remain and have been converted for modern use, with varying degrees of success.  But looking at them, it is not possible to even begin to imagine what that world was like.  At least two movies (A Walk on the Moon and Dirty Dancing) capture the mood and social dynamics of both the bungalow world (A Walk on the Moon) and the resort (Dirty Dancing) world of the Catskills.  There were two hallmarks of the Catskill experience; the food and the entertainment.  Comedians, singers, musicians and dancers made a steady and hefty chunk of change by “playing the circuit” every summer.  Few remember these icons of their time.  Perhaps the exceptions would be Woody Allen and Joan Rivers.  Almost everyone who had a hand in creating television (and by “creating” I mean ‘inventing the very concept of programming”) played the Belt; Milton Berle, Carl Reiner, Burns and Allen, Sid Caesar, Molly Berg.  Theatre people played the Catskills too; Betty Garrett, Camden and Green, Molly Picon, Fanny Brice.  All the big names played the Catskills; it was close to the city and it wasn’t a bad way to make some real money.

The entertaining in the Catskills went beyond the stage however.  A tummeler (pronounced: toom-e-ler) was the court jester of their day.  Tummelers were jovial, extroverted fellows whose primary job was to get the party started.  They cajoled people into gaiety, usually while wearing something quirky.  The recent death of Lou Goldstein, a tummeler’s tummeler if there ever was one, may be the last bit of spark to sputter from the Borscht Belt ash.  (You may remember seeing Lou on daytime talk shows in the 1970s.  He was famous for his Simon Says.)

The Catskills (as they once were) are gone and they’re not coming back, but tummelers are still doing quite well.  Have you been to a Bar or Bat Mitzvah in the past 25 years?  You can’t swing a rubber chicken without hitting some festooned guy or gal encouraging middle-aged guests to drop it like it’s hot.  (Twenty-five years ago, Aunt Shirley was being told she was too sexy for her shirt.)  The good news for tummelers is that the gigs are now all year long and women may apply.

It is interesting that the tummeler is the only thing to emerge from the rubble of the Borscht Belt.  Seasonal communities don’t exist in the same manner.  They do exist in an ad hoc manner, but not as a large collective and certainly not with the same degree of familiarity.  Actors, musicians, comedians and the like, have nowhere to earn a stable income while perhaps trying out new material and cultivating new audiences.  Performers were able to work (and play) with their friends and sometimes make enough money to make it through a lean year.  Yes, today some do work cruise lines and casinos, but those are finely choreographed shows and are usually reserved for the boldest faced names on the B list.

There are new ways for entertainers to breakout and find new audiences, online and off.  The proliferation of televised contests assures that a new finely coached belter/wailer will be discovered every week.  Comedians have their pick of new media as well as consistent traditional outlets (someone will always have to prep live audiences to laugh at tepid television shows.)  But what may never be replicated is a place for performers of different genres to perform in the same place at the same time.  Like the Catskill guest experience, it’s the collective that will be missed.

 
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Posted by on April 16, 2012 in Cultural Critique, Travel

 

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Bells Are Ringing – Review

A show of hands please for those of you who are sick of me waxing poetic about Encores! at New York City Center.  You, yes you there in the back, may want to lower that hand and use it to delete this now.

Last night I attended the dress rehearsal of Bells Are Ringing, the opening show of the 18th season of Encores!  Directed and choreographed by Kathleen Marshall (The Pajama Game, Wonderful Town, etc.) this production soars.  Featuring Kelli O’Hara, Judy Kaye, Dylan Baker, and Bobby Cannavale, this staged concert version of Comden and Green and Julie Styne is the purest of incarnations.  The rather straightforward book involves an answering service receptionist, Ella (O’Hara) and her good nature meddling into the subscriber’s lives.  There is a romantic plot line as well, and a criminal sub plot.  The songs are delightful (Just In Time, The Party’s Over) and there are simply insufficient superlatives for the full orchestra.  As in all Encores! productions, the orchestra is center stage and directed by Rob Berman.  To be able to see and hear a musical overture?  Well, I am at a loss for words.
The dance numbers throughout are simply delicious.  I am not entirely sure which, if not all, of the numbers were the original Jerome Robbins and Bob Fosse creations.  Although, the Second Act number; Mu-Cha-Cha simply screamed Fosse.  The subway car number; Hello, Hello There! is brilliant in its seemingly simple execution.  It is actually quite complicated, but so well choreographed as to seem organic.  I’m not sure there is a higher standard for choreography than that.  Ms. Marshall is quite kind to Ms O’Hara, a non-dancer, the utmost respect is due for directors who actually protect their actors.
Ella is the center of the show, and it takes a very charismatic actress to pull that off.  Ms. O’Hara does so without breaking a sweat.  She is perhaps one of the best theatrical singers around today.  Acting (very well) while singing (very well) is more rare than you would think.  If there is any tiny flaw in Ms. O’Hara’s interpretation of Ella it is her own aristocratic air.  Given more rehearsal time, I’ve no doubt she could lose that entirely and embrace the more vulnerable and slightly common character of Ella.  There were two moments that proved this theory beyond a doubt.  Ms O’Hara flubbed her lines on two different occasions resulting in a glimpse of a different facade.  The first time is definitely worth specifying as the mistake was hysterical.  She instructed the struggling playwright to sit at his computer and write.  In 1956.  The audience roared, and she was vulnerable and devoid of grace for a moment.   I also think she is not particularly well served by the Judy Holliday wig.  It is hard enough to shake the image of the incomparable Ms. Holliday while watching this show.
What is so fabulous about Encores! is it proves that it is possible to produce wonderful original (note: not staged movies) musical theatre, with amazing talent (on and off stage) and without gimmicks of any sort.  There is an element of “let’s put on a show in the barn” to it, that for me, keeps hope alive.
While this was a dress and that of a concert version, the cast was 95% off book for the entire (over) two hour show.  It is a testament to the vision and artistic integrity of Encores! that such a polished production comes out of the most abbreviated of rehearsal time.  This production is so far along that it would take very little to move it to Broadway, and for all our sakes I do hope that happens.

 
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Posted by on August 20, 2011 in Theatre

 

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