RSS

Tag Archives: Broadway

Gentlemen Prefer Blondes – Review

10 May

NY City Center Encores! production of Gentlemen Prefer Blondes belongs to the Ensemble, and it’s in very good hands!  Rob Berman’s orchestra is superb and is neatly paired with Randy Skinner’s lush choreography.  This show is filled with dance and cast with actual dancers.  The chorus is actual singers as well.

There is a number towards the end of Act I, “In the Champ de Mars” when the chorus does not use body microphones.  They stand on the edge of the stage and sing out.  It is practically disorienting to hear sound and be able to locate its source.  These singers do not need amplification or tricks of any kind, they are the real thing.  If hearing truly talented singers unplugged isn’t enough to knock your socks off there are Attmore & Grimes.  Yowza.  This tap-dancing duo (in real life as well) perform “Mamie is Mimi” with Megan Skiro (a spit-fire dancer brimming with all kinds of personality.)  It has been a very (very) long time since I have seen this kind of dancing anywhere but in an old MGM movie.  Simply stunning.

While Gentlemen Prefer Blondes (Music: Jule Styne, Lyrics: Leo Rubin, Book: Anita Loos & Joseph Fields) is not the most riveting of musicals, director John Rando made much of it.  There is enough fun and powerful talent in this production that I found myself fantasizing of a dream team of Kristin Chenoweth and Laura Benanti as Lorelei and Dorothy.  Those roles are currently filled with Megan Hilty and Rachel York.  The audience loved them, and Mr. Rando predicted it.  Every number of Ms. Hilty’s was split into three parts, allowing the audience to applaud in triplicate.  Ms. York came in at the end of dance numbers to throw her arms up and receive applause.  I’m not sure Dorothy needs to be a dancer, so it’s best to keep her off the stage and allow the dancer’s their moment.  The audience was so enamored with Ms. Hilty that at one point they wildly applauded her dress.  Yet I found this duo unsettling.  Ms. York almost disappeared as Dorothy (when she wasn’t taking a bow.)  Ms. Hilty’s interpretation seemed more Betty Boop (with blond wig) than Lorelei.  When the second act opens, Dorothy and friend enter in red dresses.  The blond with her seemed so much more toned down than in Act I.  I let out a small sigh of relief.  Then I realized the blond was in fact Mrs. Spofford (Ella Rush) and not Lorelei.

See this show for the dancing and the incredible orchestra.  See this show to remember what songs sound like with out technical tricks.  See this show to experience an Overture and Entr’acte.  None of these elements should be taken for granted.  If you’ve ever experience a Broadway musical at which the conductor is waving his arms to an empty pit (the music being piped in from the basement and locales unknown) you know exactly what I mean.

 
Leave a comment

Posted by on May 10, 2012 in Uncategorized

 

Tags: , , , , , , , , , , , , , , , , , ,

The Lyons – Review

12 Apr

The Lyons is an incredible one-act play conjoined to an impaired second act.  Linda Lavin is simply magnificent as Rita Lyons, a woman (literally) waiting for her husband Ben (Dick Latessa) to die.  Some of the most riotous sidesplitting moments come from the sparring between the two.  Mr. Latessa is wonderfully cast and plays Ben with such candor and sensitivity.  Rita’s dialogue is peppered with such bon mots one can only wonder of the ruin in lesser hands.  But under Mark Brokaw’s direction, Ms. Lavin’s interpretation is simply perfect.  When a play seems to have such perfectly timed humor it’s difficult to review.  If the summary is completely accurate, readers will have a skewed expectation that the reviewer did not have.  How then do you communicate the sophistication and spot on accuracy of the very funny dialogue, without potentially disappointing an audience?  Well, once the curtain rose in the dainty Cort Theatre for the second act, that particular conundrum ebbed.

While Ben and Rita’s adult children (Curtis and Lisa) appear in the hospital room in the first act, their parents are still there to do the heavy lifting.  Curtis (Michael Esper) and Lisa (Katie Jennings Grant) are ‘adult children’ in the truest sense.  They have victimized themselves to the point of utter infantile dysfunction.  (No doubt much will be said about this play (by Nicky Silver) being about a dysfunctional family.  I did not see any signs of a family not interacting effectively.  The adult children have ruined their lives but that does not make the family itself dysfunctional.)  The actors are solid interpreters of very dull characters.  Both “children” are on the other side of 30.  Curtis is incapable of ever having a romantic relationships; ever.  He’s also never supported himself, but that’s almost beside the point.  Lisa is an alcoholic with a self-destructive streak to beat the band.  She seems to have some sort of savior impulse that does not extend to her family and does not seem to have an organic root.  Damaged characters can be interesting, (Ms. Lavin’s previous gig in Other Desert Cities proves that.) These two people are not an example of that particular genre.  Drawing them the way Mr. Silver has, does evoke a response in the audience.  But as it is frowned upon to get up on stage and perform a duo of “snap out of it” smacks, there’s no outlet for the frustration.

The second act opens with a scene in an empty (for sale) apartment.  It is a long awkward scene (following an intensely paced and hysterical first act) that takes far too long to make a minor point, which could have been made off-stage.  According to the Playbill, there is normally a scene preceding this scene; depicting Lisa at Alcoholic Anonymous.  Omitting entire scenes seems a radical move during previews, but no doubt it’s been done before.  In its place (it seems) is a walk-on by dead Ben.  Never a fan of the dead returning for an encore, I found this very jarring.  The Lyons is a starkly realistic play and there’s really no room for ghosts.

It is comforting that the final scene takes place in the hospital room of the first act.  We are reminded of the promise of that first hour.  It must be said that The Lyons has a very satisfying ending.  Surrounded by a different audience I might have actually leapt to my feet and whooped.  The fact that the second act is (currently) in such disarray, should not stand in the way of seeing this play.  Simply to see Linda Lavin and Dick Latessa spar and jar is worth the trip.  It is safe to say that no one will ever play this role like Ms. Lavin does.  She is simply remarkable.  There are beautiful moments and resonating truths throughout the play.  Quite frankly, The Lyons is like most of us; it could use a little improvement.

 
2 Comments

Posted by on April 12, 2012 in Uncategorized

 

Tags: , , , , , , , , , , ,

End Of The Rainbow – Review

05 Apr

The Belasco is an ornate wonder of a theatre.  The walls are covered in dark pastoral murals, the ceiling in stained glass coats of armor.  Carvings and drapery cover every other surface.  All of the lushness stands in somewhat stark contrast to the excruciatingly discomfort of the seats.  It’s as if the theatrical experience was forgotten in the act of creating the spectacle.  The Belascon’s current inhabitant; End of the Rainbow might well be suffering the same condition.

The play, by Peter Quilter captures the essence of the final months of Judy Garland’s life.  Quilter understands the contradictions and complications that were at work.  But directed by Terry Johnson, this production isn’t so much a play as it is a version of Beatlemania.  There is far too much tribute singing both in the recreation of the concert performances and (in a bizarre break in character) to stir a rousing ovation at the end of both acts.  Less singing might make this a more interesting play.  The problem however with knowing exactly how something ends is how then to make it dramatic.  Sometimes that can be accomplished with very fine acting.

Tom Pelphrey is spot on as Mickey Deans, Judy’s very young soon-to-be fifth (and last) husband.  Mr. Pelphrey has the unique ability to walk the tightrope between sinister and charm.  (Someday I hope to see him in How I Learned To Drive.)  Michael Cumpsty portrays Judy’s sometime accompanist, Anthony.  His is the most compelling and beautiful portrayal.  The only emotional resonance of the show comes from his two minute speech, downstage in a single spotlight.

Tracie Bennett doesn’t so much play Judy as she does impersonate Miss Garland.  It is terribly distracting to experience a full-length play built around an impersonator.  It is immaterial to assess whether someone is a good Judy Garland impersonator or not.  The fact remains that if anyone could even come close to the magic of the real Judy Garland, we would not still be talking about her (and her completely irrelevant fifth husband) 40+ years later.  Keeping that sad fact in mind, a performer is further ahead to take a page from Meryl Streep’s book, and capture the essence of an icon, not create a pale imitation.  It might sound like a minor issue, but the difference (to an audience) between acting and impersonation is tremendous.

The set of this production (William Dudley) is of the Ritz Hotel (London) and melds beautifully into the ornate theatre.  There is a very charming band set behind a scrim that is revealed to create the concert hall.  There is a bit of awkwardness with the transitions on stage.  A garment rack wheeled onto the stage to indicate a dressing room is silly and seems like a leftover device from a work shopped performance.

I was struck by some of the script’s painful yet accurate insights and think Mr. Quilter could have the makings of a gem, in the right hands.  However he probably needn’t bother.  In its current form, this show will be a huge success.  The audience went wild for Ms. Bennett’s rendition of one of Miss Garland’s worst performances on record.

 
Leave a comment

Posted by on April 5, 2012 in Uncategorized

 

Tags: , , , , , , , , ,

The Total Bent – Review

07 Mar

The Public is a distinct theatre, at times self-consciously so.  Often it is challenging to recall its noble origins amidst the marquee Central Park players, and lobby filled with smug hipsters.  But a physical set back (in this case a massive messy renovation) will do wonders to a persona.  Plastic tenting drapes the facade (and sidewalk) of the building.  Visitors are shuttled through a labyrinth of particleboard and exposed electricals to a makeshift box office.  The Public staff seems to have multiplied threefold and have been trained to move everyone safely and informatively to their respect seats.  Even with all of the helpful friendliness, I braced myself upon entering the theatre space.  Yes, the seats are plush and comfy, but the stage is always awkward and it becomes exhausting to ignore the obstructing columns time and time again.  Yet there it was, designed to be a southern (somewhat shabby) recording studio and it was impossible to imagine a more perfect stage. The set seemed to seep into the audience and into the very fabric of the infrastructure.  Those annoying columns (wrappers in carpet remnants and secured with duct tape) seemed to have been created just for Andrew Lieberman’s design.  The pieces of furniture are random in style and utterly realistic.  Wires, recording devices, and used instruments dot the stage.

All of this would fit into the category of commendable “art installation” if it wasn’t just a hint of what splendor awaits in The Total Bent (Stew-book, lyrics and music with Heidi Rodewald.)  This is the second major theatrical endeavor since Passing Strange (2008) and has elements that may now be seen as Stew trademarks.  As in Passing Strange: the musicians are an integral part of the story and on stage.  The core of the story is the parent/child tensions that result from a successful “coming of age.”  Joe Roy (Vondie Curtis Hall) is a dynamic larger than life father/recording producer.  His son Marty (William Jackson Harper) has been recording since he made the ladies swoon in church at the age of ten.  Their generational divide centers around the “type” of music they each want to record.  His father wants to continue to package spiritual songs for the living rooms of white people.  The son has something a little more contemporary and authentic in mind.  Beyond that issue, was a song that resulted in disaster (through a misinterpreted lyric) and a great recording that never was.  The boy breaks free of his father’s overbearing grip (or does he?) and struggles to find his voice.

The music, not surprisingly, is excellent: a little bit gospel, a little bit rock and roll.  There is a lot of foot tapping and swaying happening in the audience.  It isn’t entirely clear what the time period is.  There are times the costumes suggest the 1970s, yet the vernacular speaks to the present, presumably this is intentional.

Directed by Joanna Settle, the tight ensemble never falters.  The British record producer (David Cale) is a wonderful addition with his energy, awkwardness, and pale angular Britishness.  The church bus driver and janitor (aka the back-up band) played by Eddie R. Brown II and Julian Rozzell, Jr. are incredibly watchable.    The use of space, light (Adam Silverman) and sound (Obadiah Eaves) are spot-on and add a roundness and completeness to the play.  While there is never a dull or “down” moment, and one never tries to spy one’s watch in the dark, the show does need a trim.  Two and a half hours is not extreme, but some of the emotional impact of The Total Bent is diluted with (what are in essence) repeated scenes.  It is a compelling, well crafted and staged play that could be perfect with just a snip or two.  No doubt in such an organic feeling piece, the cuts may hurt a bit.

There is a perfect storm at work right now.  The Public, and all the metaphorical significance of its massive face-lift, and The Total Bent create a magic together.  I’m not sure I’ve experienced theatre at which the lobby informs the experience of the play.  This play would most certainly work in a multitude of venues, but if you can, see it now; at The Public.

 

 

 
Leave a comment

Posted by on March 7, 2012 in Uncategorized

 

Tags: , , , , , , , , , , , , , , , , , , ,

And God Created Great Whales – Review

25 Feb

It is rare that a new musical production appears; beautifully crafted and perfectly executed.  And God Created Great Whales is just that.  This two-person play is the story of Nathan (Rinde Eckert) and his muse Olivia (Nora Cole) and their creation of a Moby Dick opera.  Olivia is Nathan’s fantasy, inspiration and musical partner.  She is also often all that is left of his mind.  Nathan is suffering from a rapidly progressing form of memory loss.

The stage is set with several cassette tape recorders, post-it notes, and flashcards.  Evidently, Nathan in the first throes of his illness created effective prompts for the future diminished Nathan.  Through much of the play Nathan wears a recorder around his neck, duct taped to his waist.  Each session at his piano starts with listening to the tape.  He must listen to more and more of these previously recorded reminders as to who he is and what he’s doing as the play progresses.   It would be unbearable to watch if not for the rich bursts of lush operatic score that emerge. The opera is the play within the play and allows for ravishing duets and solos.

There is also much humor in the play.  But its true Amazonian strength is its flawless storytelling.  What could be a depressing and predictably sentimental theme is made beautiful and inspiring.  There is simply no separating the performers from the performance in this production.  Eckert and Cole are mature actors completely immersed in their characters.  They move like trained dancers, in and around each other on the thrust stage.  Eckert is also the creator of the play (and score) as well as the sound designer.  The sound design of this production is worthy of its own review.  It would be overstating to suggest that the sound is a third character in the play.  The lighting (John Torres, Caleb Wertenbaker) and costuming (Clint Ramos) add a great deal to the very exposed and intimate stage.  But it is the fluidity and high production value of the sound that are the most essential.

Directed by David Schweizer, there is a wholeness to this play that is rarely seen on or off-Broadway.  There is not a whiff of anything forced, or a moment that doesn’t exist to propel the story forward.  The structure of the storytelling is very traditional which leaves room for great innovation.  (This alchemy is similar to that of Passing Strange (2008) and Unnatural Acts (2011.))  Both actors are on stage for 90 minutes and at every moment are completely mesmerizing .  My only complaint is I often could not watch both of them at once.  There is much to linger with this play; the fragility and resilience of the mind, the mysteries of the creative process, the many means to an end.  But what will stay with me is a paragon of musical theatre.

Playing at Culture Project until March 25th.

 
Leave a comment

Posted by on February 25, 2012 in Uncategorized

 

Tags: , , , , , , , , , , ,

← Older posts
Newer posts →