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Tag Archives: Brenda Tobias

Follies – Review

20 Aug
 
I knew upon entering the utilitarian Marquis Theatre that my instincts were right about seeing Follies.  The theatre, located in a Las Vegas styled Marriott, is hardly known for its charm.  But there it was, draped in dingy, droopy, graying muslin.  The draping was so authentic, most did not know it was not part of the theatre.  The set, (Derek Mclane) so realistically evoked a decaying vaudeville theatre, that I knew attention had been paid.Now I must interject that the only Follies I have seen was an Encores! (staged concert) version.  I may not be the most reliable reporter of the event.  Follies, while not a hit when it opened in 1971, is a wonderful mix of poignancy, period styling, and Zigfield Follies/Busby Burkeley pageantry.  The songs (Stephen Sondheim,) you would recognize many, are gorgeous, and there is more than one show stopper.  Follies holds an additional, while rare, distinction; it is an incredible showcase for women of a certain age.The premise is a reunion of the Weissman Girls before the closing of a theatre.  The Weissman Follies spanned “the years between the world wars” and the reunion is set in 1971.  A younger cast is employed to evoke the performers past selves.  This would be when I start gushing about the costumes (Gregg Barnes.)  I was reminded of those scenes in The Women and That Touch of Mink.  You know, when the ladies sit in a comfortable seat and watch the fashion show while mentally choosing what they’ll buy?  The 1920s and 1930s costumes were dreamy, as were the 1971 gowns.  Mary Beth Peil (Women on the Verge, The Good Wife) was ravishing in a form fitting black stretch gown and cascading gray hair.   Elaine Paige was equally gorgeous on the other side of glamor in an electric blue satin gown trimmed in mink.  But enough about the clothes.  For now.What a cast!  The two couples at the center of the storyline; Buddy and Sally and Ben and Phyllis, are played respectively by; Danny Burstein, Bernadette Peters, Ron Raines and Jan Maxwell.  Danny Burstein is always fun to watch (if Bert Lahr and Wallace Shawn had a singing and dancing son it would be Danny Burstein) but he is far too young for this role.  The problem with a show about aging, and one that announces the characters age from time to time, is there is not a whole lot of wiggle room in chronologically blind casting.  Bernadette Peters suffers from this fallout as well.  At one point she declares herself “49” and there is sputtering in the audience.  I feel certain they meant no harm, it was just so outrageous.  Ron Raines is not served well by a declaration of his being “53” either.  Both Mr. Raines and Ms. Peters are in their 60s, a fact that is only highlighted by pairing them with Mr. Burstein, who is in his 40s.  Ms. Maxwell is probably the only principal who is the right age.  If one can suspend reality (which needs to include the premise that a 5’2” Ms Peters could ever be a show girl,) this whole thing should not be such a problem.  Although I find it interesting that during a time of such enormous weight given to appearances, that we choose to overlook the obvious for the slightly more subtle which is fame.This would be the time to shout a big hurrah, that Mr. Raines is on the Broadway stage.  He is a veteran concert and regional performer, and known to some for his daytime television work (Guiding Light.)  His voice is so old school rich and reverberating, it took my breath away.  He’s a bit easy on the eyes as well.  He was a delightful match for Ms. Maxwell, who tore the place up with her “Could I Leave You.”  The lack of chemistry between Mr. Raines and Ms. Peters was perfect for the story.  I know I am in a very small minority in never seeing Ms. Peters’ stage appeal.  I adored her in the Steve Martin films, but find her voice to be thin and nasally.  Her role is not huge, but I was left wondering how incredible it would have been to hear “Losing My Mind” sung by Tyne Daly.  I had little time to sulk, as I had the transcendental experience of hearing Miss Elaine Paige sing “I’m Still Here.”  I still have chills and a lump in my throat.  Now in between all these rich, gorgeous songs brimming with pathos, are some of the best performances you will see on stage.  “Who’s That Woman?” is a tap, chorus line, number performed by most of the women.  While most of the principal cast are not dancers, Terri White is.  She plays Stella Deems and tears up the stage in this number.  Holy moly!  (Ms. White may be familiar to readers of the New York Times.  She was profiled a couple of years ago while performing in Finian’s Rainbow.  At 60 years old she found herself homeless.)   Her performance needed an Encore desperately.  I would not be surprised if one is added (the show is currently in previews.)I suspect that this might not be the quintessential Follies.  My guess is that a more appropriate casting of Sally and Buddy would launch this production into the history books.  That said, it is without a doubt a must-see!

 
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Posted by on August 20, 2011 in Uncategorized

 

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I’ll Have What She’s Having

20 Aug

Have you noticed the latest fall-out from the “restaurant as theatre” syndrome?  It seems now an expectation that the selection and consumption of food should be a communal experience.  Forks fly and plates are shuttled back and forth in an attempt to “try” as many menu items as possible.  To me this is somewhat tantamount to talking during a performance.  Please be quiet and please remove your fork from my plate.  I’d like to enjoy what I’ve selected without interruption please.

I am not anti-communal dining.  I enjoy a good potluck or buffet.  However there is something intrinsically self indulgent about dining out.  Perhaps it is just my emotional make-up that makes me relish having someone prepare something for me that I know I’ll enjoy.  I’m not interested in experiencing other people’s personal tastes or selections.  I would like just 30 minutes or so to enjoy exactly what I asked for.  Considering how rarely I dine out, I don’t feel too Veruka Salt saying this.

In the interest of full-disclosure, I’ve never been that great at group endeavors.  I failed at the one-week session of Girl Scout day camp, begging my mother to allow me to quit.  I was asked to leave Brownies after being inconsolable upon learning there would be no actual brownies.  The very idea of a sorority made my chest constrict.  I never did the “summer share.”  In fact my number one goal as a young adult was to rid myself of roommates and live alone.
Before one makes the logical conclusion; “sociopath!!!!” let me assure you, I am very socially functional and a good little sharer.  I toss books, clothes, shoes and advice, hither and yon.  I take great pleasure in the daily opportunities there are for human kindness.
But when it comes to mealtime, I’m not sure I’ve ever graduated past the Bread and Jam for Frances phase of life.  I (and my sister for that matter) could eat the same thing everyday for the remainder of our solid food lifetimes.  My packed lunchbox is as exciting to me as a Faberge Egg.  All morning I look forward to the predictable contents.  And for the record, I have been known to share some of it as well.

I’m just not that interested in what others choose to eat.  Make no mistake, I am thrilled to be invited to a homemade meal or catered affair.  I am not harboring any Howard Hughes idiosyncrasies about what I ingest.  It’s just that when I dine out, if it isn’t too much to ask, I’d rather not have the table turn into a giant lazy susan.  All personal food choices aside, isn’t it simply more civilized to not play Red Rover, Red Rover over a white tablecloth?

 
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Posted by on August 20, 2011 in Cultural Critique

 

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Death Takes a Holiday – Review

20 Aug

In the hands of a deft director (Doug Hughes) skillful musicians and excellently cast actors, Death Takes a Holiday is a simply wonderful experience.  The new (Rondabout Theatre) musical is staged at the very compatible (425 seat) Laura Pels Theatre.  The intimacy of the theatre is perfectly suited to this delicate production.  The set (Derek McLane) is rather reminiscent of the recent revival of Ragtime, which ostensibly was a concert version of the musical.  (I was not surprised to learn that Mr. McLane did in fact design Ragtime.)  I am left with a bit of a chicken and egg question in wondering if Mr. McLane was hired to lend an air of a staged concert to this production, or if this production feels like a staged concert due to the set.  Regardless, the device works.  The orchestra(-lette) is set behind a scrim in the fly.  While it is always nice to see the musicians (no matter how few there are) the upstage fly is the perfect placement in this theatre.  With the (diminutive) orchestra upstage, the actors should be perfectly comfortable without microphones in a theatre this size.  But alas, no.  More than once I was reminded of the Lena Lamont mishaps in Singin’ in the Rain.  Perhaps taping the body mic to the forehead rather than the side of the face, would help?  Perhaps it is time I simply gave up this cause?

Even with the excessive amplification, there is a lovely old fashioned quality to this musical.  I am a huge fan of simplicity and a City Center Encores devotee.  I am not bothered in the least by the lack of dance in this musical.  I suspect some ticket holders might be disappointed, but I am of the “less is more” and “if you can’t do it well, don’t bother” school.  I’d much rather see a lovely performance of honest portrayal than a casserole of all things to all people. 

The book, by Peter Stone (1776, Titanic) does not alter the original storyline or add superfluous sidelines.  (There were two incongruent attempts at lewdness with which Mr. Stone should not have sullied himself.)  In the film to musical genre, it is as straightforward (in the very best sense) as The Light in the Piazza was/is.  Maury Yeston (Titanic, Nine, Grand Hotel) wrote the lyrics and music, and clearly is also no stranger to the movie – musical genre.   There are a few absolutely delicately pretty songs in the show.  Nothing one would necessarily hum, but quite nice.  I did have an issue with the scoring of the music.  Many of the numbers are written in a far too expansive range.  Nothing would have been lost by bringing down the excessive high notes.  The actors, rarely hit them, and when they did it was with effort and flop sweat.  It was distracting to the audience and made me wonder what was motivating Mr. Yeston.  The best musical numbers are those with the household staff.  Their humor and vocal prowess were an absolute delight.  There is also a number, performed sitting on the apron, by the three youngest female characters, that is very memorable.  The three part harmony is splendid.

The casting of this production seems to be a nod to the past as well.  There are boldfaced theatre names (Matt Cavenaugh and Rebecca Luker) but no US magazine veterans.  Mr. Cavenaugh’s role is tiny, which I found surprising, considering his recent lead roles (West Side Story, A Catered Affair.)  Ms. Luker’s role was much more significant.  Oh, to hear her sing!  Even in a mostly forgettable song.  Had it not been for her solo, I would have considered the entire cast all quite very good singers.  She transcended them all.

The performance I saw was the first in which the lead had dropped out.  He was the same actor who was a recent no-show for opening night.  The cause stated is laryngitis.  One has to wonder about the preparation younger actors are receiving.  More often than not, I have witnessed no-shows at matinees (and they are always the under 35 set,) leading me to wonder about their physical preparation for 8 shows a week.  I am also at a loss as to how an amplified, rather subdued score (it’s no Phantom!) can be so straining.  I do not wish to sound unsympathetic.  Truly.  I simply wonder if more is owed this generation of performers.

Digression aside, I thoroughly enjoyed this show.  Even without an overture, I knew in the first 5 minutes that it was going to be a good time.  I love seeing new things, and what a joy to see something lovely and devoid of gimmick.  There were no mindless repetitive thumping bass lines, no screaming lyrics and no sound effects.  There were instead; honest portrayals of human beings, with a score that continually worked to move the story along.  Much is made of bright and shiny these days.  Even more is made of everyone’s 15 minutes and spotlights.  We are often in pursuit of perfection, in material objects, in others, etc.  In musical theatre there is an embarrassment of perfection.  But for every Gypsy or Showboat, there is a Starlight Express, and in between, there is a whole lot of real estate.  I am very happy to live in the neighborhood of Death Takes a Holiday.

 
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Posted by on August 20, 2011 in Uncategorized

 

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Unnatural Acts – Review

20 Aug

I have been meaning to see The Classic Stage Company’s production of Unnatural Acts, (based on the true story of Harvard University’s persecution of homosexual students) since the play opened.  That I chose to see it on the eve of New York State issuing the first marriage licenses to gay couples, is somewhat poetic.

Unnatural Acts takes place at Harvard University in 1920.  It is based on actual records which were uncovered at the end of 2002 by a Harvard student.  The records, of a tribunal and subsequent persecution of 38 students, is compelling for its layers of inhumanity.  The university’s rather flaccid response and comment to the discovery of the records, only compound the impact of the story.

The play was conceived by its director, Tony Speciale and written by the members of the Plastic Theatre (who comprise most of the cast.)  This is a true ensemble piece as demonstrated by the absolute fluidity of story, staging and character.  The actors are so perfectly cast as their characters, it is difficult to imagine anyone else embodying the roles.  The thrust stage transforms into various Harvard locales, and once, through a genius use of lights above the fly, a train station.  The story is told in a riveting dramatic manner, never resorting to sentiment.  From the moment the stage lights come up, we know it is 1920 and can feel all that that implies.   We watch the young men perform their toilette while discussing their friend’s recent death (he was found dressed in a suit, in his childhood bedroom, gassed to death.)  Their varying reactions and relationship to one another tells us so very much about the pressure to conform.  The subtlety in the layers of social class in the ivy league setting are timeless and lend a very modern feel to this very period piece (the actors even have 1920’s haircuts.)

So much could be said about the story itself, about the implications of institutionalized bigotry and the absence of reparation.  However, space and attention span, sway me to discuss the production itself.  Unnatural Acts is the closest thing to a musical, without music, you will ever see.  Exquisitely choreographed, the actors are positively fluid.  The second scene actually has 8 men on stage moving in slow motion at a party.  Couples transition into real time as we hear their conversation.  It is a real party, but slowed down.  Every detail and facial nuance is entirely authentic.  Every piece of this production is up to the scrutiny of slow motion.  Even set changes are beautiful to watch. 

The final scene is the most musical of them all.  I was reminded of the power of Bill T. Jones’ Spring Awakening classroom scene.  The sounds and movement were so incredibly powerful.  I regretted sitting in the first row of a thrust theatre, as there really is no way to hide the hiccuping sobs.

I simply cannot remember having seen something this flawless and powerful.  This play has been extended (for the third time) only through July 31st.  I urge you to have this experience.

 
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Posted by on August 20, 2011 in Uncategorized

 

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The Shoemaker – Review

20 Aug

Have you ever watched a soap opera?  It’s okay, you’re among friends.  No, really.  Fine, I’ll start.  I have watched soap operas.  I have done so because quite frankly there is some amazing acting on those shows.  Like a tree in Brooklyn, it survives amongst some truly awful acting and absolutely ridiculous storyline.  The dialogue, like the acting, can go from 0-50 in mere seconds.  There doesn’t seem to be much consistency of either.  There is something almost Olympic about watching a very good actor utter the most absurd lines.  What can I say?  It’s fun.

Which explains why I liked The Shoemaker at the Acorn Theater.  This new play by Susan Charlotte, has a thin and clumsy plot.  The dialogue is stilted at times and excruciating at others.  A voice-over is used awkwardly as exposition.  At one point I was so embarrassed by this, I fantasized about hiding under my wrap.  Perhaps all this was a nod to Ms. Charlotte’s previous gig at Guiding Light?  The heavy-handed subject matter; the attack on the World Trade Center and The Holocaust, partly saved this play.  Sounds a bit counter-intuitive, no?  I am no fan of “neuralgia” (as it’s called in my home) and I do abhor cheap sentimentality.  But even I can concede that these subject matters transcend bad writing. 

Now add the rawness of the subjects with the presence of Danny Aiello, and you have the makings for a pleasant afternoon.  Mr. Aiello is just heartbreaking.  I know how ridiculous I was choking back sobs as he recited one of the four questions.  In Hebrew.  But hey, a gal can only take so much.

The play takes place in a (nicely set) shoemaker’s shop.  There are some flaws in the set decoration, but there are bigger issues with which to contend.  Mr. Aiello is joined on stage by Alma Cuervo, a delight.  Saddled with dialogue and monologue entirely incongruent with the events of the day (9/11/01) they still manage to create some very lovely moments.  Mercifully, the voice-over (with varying degrees of technical accuracy in volume control) is held to a minimum in the first act.  Unfortunately, the first act ends with a glimpse of what’s in store.  A third character (Lucy Devito) walks on stage with all the dramatic believability of a lost audience member.

The only thing keeping one in their seat during the second act are the monologues of Mr. Aiello.  He rises above the muck and finds his own beautiful truth.  This would simply not be possible in lesser hands.

One need only read the program to ascertain how this play got to the stage.  The playwright produced it.  The relationships between the actors and the donors are extensive.  Lucy Devito, so very painful to watch, is probably the most egregious of the nepotism at play.   But, it seems The Acorn has carved out a certain niche for themselves.  Their next performance is The Pretty Trap, starring Katharine Houghton.  You remember her.  She was last seen asking her Aunt Katherine; “Guess Who’s Coming To Dinner?”
 

 
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Posted by on August 20, 2011 in Uncategorized

 

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