Thursday, December 4, 2014

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS The Honor Roll - Part 3

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS
The Honor Roll - Part 3

Some more musicals from the fifteen shows that make up my musical Honor Roll. Lots to talk about, so sit back, pour some coffee and let's begin.

THE SCOTTSBORO BOYS - Music and Lyrics by John Kander and Fred Ebb, Book by David Thompson
This is what I posted on Facebook the day after we saw The Scottsboro Boys  in New York. "Listen up, people! If you care about musical theatre at all, you MUST get to New York before Sunday and catch one of the remaining performances of  The Scottosboro Boys  at the Lyceum Theatre on W. 45th. We saw it on Wednesday and it was one of the most thrilling theatrical performances I've seen in years. It's closing far, FAR too soon. This is a must-see!!!" And it remains one of the most thrilling pieces of theatre, musical or otherwise, that I have seen. Based on a true story, this bold work by David Thompson, John Kander and Fred Ebb  tells of a horrific miscarriage of justice based on irrational fear, racial intolerance, and popularly-held stereotypes. The frightening thing is that this type of bigotry, ignorance and narrow-mindedness is still prevalent in the United States and even celebrated, so this show is not only a indictment of our past, but also a cautionary tale of what could conceivably happen again. The show received mixed reviews when it opened at the Lyceum Theatre and closed after a far-too-brief run. It was nominated for twelve Tony Awards, but had the misfortune of opening in the same season as the juggernaut called The Book of Mormon and didn't win a single award, giving The Scottsboro Boys the dubious distinction of having the most nominations in Tony history without winning in a single category. A sad commentary. A brilliant, touching, wonderful musical.








December, 2010. We saw The Scottsboro Boys just a few days before it closed after a too-brief run. There was an air of excitement and anticipation throughout the sold-out theatre. When the lights dimmed and the orchestra began playing and the cast took their places, the audience erupted into prolonged and loud applause. We were there to celebrate them and we wanted to make sure everyone involved in the show knew it. The entrance applause was nothing, however, compared to the ecstatic standing ovation that just did not want to let the cast go. I was hoarse from cheering and my hands hurt from applauding. The love in that theatre was palpable on both sides of the footlights. Beowulf Boritt's deceptively simple set of backdrops and chairs served as a railway boxcar, a theatre, a courthouse, a jail and a bus in Montgomery, Alabama, while Ken Billington's brilliant lighting design changed the mood of the show with the execution of a light cue. Director/Choreographer Susan Stroman thrillingly staged the show within the framework of a minstrel show, a choice that brought her a considerable amount of criticism, but one that was absolutely correct. Without a single discernible misstep, this is, in my opinion, her finest work, easily topping her wildly praised jobs on The Producers and Crazy for You. Performed by a sensational cast of actors, this was a true ensemble piece. So it is with the utmost respect and admiration for the entire cast, that I single out  these three actors: Joshua Henry, John Cullum and especially Sharon Washington. As Haywood Patterson, the "leader," for lack of a better word, of the Scottsboro 9, Joshua Henry brought a magnetic, dynamic and an unshakeable certainty of the innocence of the Scottsboro 9 that was the glue of the piece. Theatre legend John Cullum's portrayal of the Interlocutor easily demonstrated why he has won two Tony Awards and is on everybody's "A" list when it comes to actors of a certain age. Oozing with oily, malevolent charm, he commanded the stage with his every appearance. His last appearance, where the Scottsboro Boys refuse to join him in his racist cakewalk, was chilling. But it was Sharon Washington's  The Lady that made the most impact. Although she only spoke a few words at the very end of the show, her quiet dignity and her moments of absolute stillness  gave an added depth of humanity and warmth to the show. And when she finally said her lines which, for all intents and purposes, ended the evening, it provided a powerful conclusion to The Scottsboro Boys. It is truly magnificent. - at the Lyceum Theatre, New York



June, 2012. We were on the West Coast to see the revival of Follies in Los Angeles and decided to make a stopover in San Diego when we found out The Scottsboro Boys was in its final performances there. With the original design team recreating their original work and Susan Stroman once again at the helm, this was a replica of the Broadway production. This production featured some members from the original New York cast  in addition to Ron Holgate as the Interlocutor. Holgate, a Tony Award winner for the original production of 1776, has a different style and skill set than John Cullum and Stroman wisely directed him to use his particular strengths to create a different, yet solidly effective Interlocutor. This time around Clifton Duncan played Haywood and C. Kelly Wright was moving as The Lady. If anything, the how made a bigger impact in San Diego than in New York, possibly due to the size of the respective theatres. While the Lyceum in New York is a smallish Broadway house seating just under 1000, the Old Globe is a much more intimate space, seating approximately 600, so the action just seemed more immediate, more powerful. We were fortunate to be at a performance that featured a post-curtain talkback (for the record, I love talkbacks) and it was exciting to see how many people stayed and interacted with the cast. A classy production of a show that should be on everyone's bucket list. - at the Old Globe Theatre, San Diego

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THE APPLE TREE - Book, Music and Lyrics by Sheldon Harnick and Jerry Bock with additional book material by Jerome Coopersmith
The Apple Tree, Harnick and Bock's musical of three one-acts, is decidedly a mixed bag in tone and, frankly, quality. But there is an irresistible charm to the show that makes the most out its considerable virtues and downplays its flaws. Written with the intention of having the same three leads play the more or less equivalent characters in each of the three acts, it's a wonderful vehicle for actors to show off their range and versatility. The "star" of the three pieces is its first act, "The Diary of Adam and Eve," based on a story by Mark Twain. In this piece, everything comes together. The book is gentle, yet often very funny and, ultimately, quite touching. The score mirrors the qualities of the dialogue and concludes with a remarkable ballad called "What Makes Me Love Him," which is as pretty a song as one could hope for. The second act, "The Lady or the Tiger," based on a story by Frank R. Stockton, is paper-thin, but is accompanied by a jaunty score that includes a torchy "I've Got What You Want"…absolutely delicious. The third act, "Passionella," based on a story by Jules Feiffer, is, perhaps unfairly, most noted for a lightning-fast costume change, but is really a rather smart swipe at the artificiality of fame and our attraction to it. Even though all three of the playlets had distinct pleasures, the consistency just wasn't there, with the first act obviously the strongest, the third act the most fun and the second act the throwaway. It was Harnick and Bock's follow-up show to their smash Fiddler on the Roof and the critics were respectful and the show itself received generally very positive critical notices. In her three roles, Barbara Harris gave an iconic performance that is the stuff of legend, if the critics and archival material are to be believed. I feel, however, it's more than just a moderately successful show that is best known for the 1-2-3 punch of the Eve-Barbara-Ella/Passionella leading lady roles. The Apple Tree has a delightful, underrated score that deserves to be more than a footnote to the Harnick and Bock catalog and three stories that will entertain and sparkle with the right cast and director. I'm a big fan. (I also played the Snake, Sanjar and George L. Brown, the anti-Flip, in a community theatre production back when the earth was still cooling. Had a blast!)



The U of I Assembly Hall

March, 1969. To my knowledge, this was the only national tour of The Apple Tree. If there were other companies touring the country, none of them played Chicago. Tom Ewell, of The Seven-Year Itch on stage and especially on film, was the top-billed star, but it was probably second-billed Rosemary Prinz who was the bigger draw at the box office. Prinz had just finished a twelve-year run as Penny Hughes in As the World Turns and was, at the time, a household name. She was out that night and Brenda Gardner, her understudy, filled in for her. According to the many notes I scribbled in my program, I thought she was tentative and a bit underwhelming vocally. She got better as the evening progressed, but it was nothing more than a competent, professional job. (To be totally fair to Ms. Gardner, I was a callow lad of 18 at the time and totally besotted with the original cast album, especially Barbara Harris' performance on it. I probably would not have liked anyone except Barbara Harris, so my thoughts on Ms. Gardner's performance should be taken with much more than a grain of salt.)  Will Mackenzie, who would go on to a great deal of success as a television actor and director, played the Alan Alda roles with charm and talent and I liked him a lot in the roles. Most disappointing, however, was Tom Ewell in the Larry Blyden roles. Perhaps, six months into the tour, he was getting tired of schlepping from one small town to another. Perhaps he didn't like playing opposite an understudy. Perhaps he was just bored with it all. Whatever the case, he gave one of the worst performances I have seen in nearly fifty years of theatregoing. (Not the worst. That honor goes to Danny Kaye in Two by Two, but more on that in another post!) Listless, matter-of-fact with zero charm or charisma, he phoned in his performance. Dismal. My notes complimented the physical production and the orchestra and sound. Apparently, however, the audience was dead and unresponsive. Perhaps a reaction to Rosemary Prinz's absence? - at the Assembly Hall, University of Illinois, Champaign
Sidebar: Then, as now, bus and truck companies bring theatre to many smaller communities. Designed for mobility, these tours often play one- and two-night stands. Before many universities built state-of-the-art performing arts complexes, performances were often held in venues such as the Assembly Hall at the University of Illinois in Champaign, an architecturally significant building usually used for basketball and recently added to the Illinois endangered landmarks list, that is still home for the Broadway series. But thanks to some theatrical magic and very skilled technicians and stagehands, this vast arena was transformed into a perfectly acceptable performance space.







(an edited repost from an earlier blog entry)
December, 2006.  This was the first full-fledged Broadway revival of the show, not counting a 2005 Encores  presentation and I was super-stoked to see it. And although I had some major reservations as noted below, I wasn't disappointed.  Brian d'Arcy James, in the Alan Alda parts, is a first-rate and talented actor and was excellent in all three acts.  Marc Kudisch, in the Larry Blyden parts, was at his best as the Snake, but underused in the other two, a fault of the writing.  (I never said the show was perfect.)  Kristin Chenoweth, in the Barbara Harris roles, was the reason most of the audience was there and I'm sure she didn't disappoint the majority of them.  In my opinion, however, she was a case of diminishing returns.  In "The Diary of Adam and Eve," she was outstanding.  Warm, touching, funny.  In "The Lady or the Tiger?" she was getting a bit too broad.  In "Passionella," she was, well, just not funny.  It was all surface Kristin Chenoweth tricks and though "Passionella" is the broadest of the three acts and is somewhat of a cartoon, it's also a satire and needs to be played straight, but with a knowing wink.  Chenoweth was just out there madly chewing scenery and it hurt her overall performance.  Director Gary Griffin got a superb performance out of her in the first act, but sadly seemed to lose directorial control over her as the show progressed.  And that was a shame.  Had she been better directed, she could have been a worthy successor to the iconic Barbara Harris performance.  Quibbles aside, though, it was great fun.  - at Studio 54, New York


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SWEENEY TODD: THE DEMON BARBER OF FLEET STREET - Music and Lyrics by Stephen Sondheim, Book by Hugh Wheeler
I need to get this off my chest: even though Sweeney Todd has been performed by many opera companies at many opera houses throughout the world, it is not an opera. It is a musical. Full stop. It was written as a musical. It was first produced as a musical. It won a bunch of Tony Awards as a musical. It might have the epic qualities of an opera, but it has the heart of a musical and needs to be performed by actors who can sing, and admittedly sing very well, and not by singers who can act. There is a difference.  Let me try to explain. You can sing the crap out of Mrs. Lovett, but unless you have the acting chops to thoroughly delve into the depths of this complicated, charming and diabolical villain, all you have is a well-sung Mrs. Lovett. I'm not saying opera stars don't know how to act. Many of them do, but acting in an opera and acting in a musical are two similar, yet different, animals. It's rare for an opera star to convincingly straddle both worlds and vice versa. But whether you think, like I do, that Sweeney Todd: The Demon Barber of Fleet Street (to use its full name) is a musical or whether you think it's an opera or even whether you think it's an opera that thinks it's a musical or a musical that thinks it's an opera, the bottom line is that it doesn't matter. Any way you look at it, Sweeney Todd is one of the finest works written for the theatre in the past century. Personally, I prefer Follies, but I will not dispute the fact that this is Stephen Sondheim's masterpiece. This slice of Victorian Grand Guignol  delight has a rock-solid book by Hugh Wheeler to compliment Sondheim's soaring score  that ranges from broad comedy to chilling anthems of revenge to one of the most beautiful songs written for the stage, "Green Finch and Linnet Bird." The ugliness and violence of London in that era is more compellingly told and far darker and more realistically portrayed in Sweeney Todd  than the London of Lionel Bart's Oliver!, which takes place in roughly the same time period. You root for Sweeney Todd and Mrs. Lovett even though you know these are bad people…or are they really very moral people who do whatever they feel needs to be done in order to survive, repay old debts and, by killing the totally reprehensible Beadle and Judge, actually make the world a tiny bit better? It's not a happy show, though you will laugh throughout "A Little Priest," but it's invigorating show of uncompromising quality that will make you think while it entertains you.



 




March, 1979.  The show had opened earlier that month to largely favorable reviews, though, not unsurprisingly considering it's a Sondheim show, not every critic was a fan. This "critic," however, was and is. Upon entering the Uris Theatre (now the Gershwin), a theatre that thinks it's an airplane hangar, scenic designer Eugene Lee's sensational set, made up of parts from abandoned foundries in New England, immediately set the tone. It was jaw-dropping and disturbing at the same time and when the shrill factory whistle blasted through the auditorium, you could feel the audience jolt to attention. From Larry Fuller's dance and movement to Franne Lee's costumes to Ken Billington's lighting to Jonathan Tunick's orchestrations to Paul Gemignani's musical direction, there was not a single production element that was not absolutely flawless. Harold Prince's direction was insightful, complex and yet accessible and told this story of revenge and redemption with a beauty and grace that makes Sweeney Todd quite possibly the highlight of his long and brilliant career. Staggeringly good performances by Victor Garber, Ken Jennings, Merle Louise, Edmund Lyndeck, Sarah Rice, Joaquin Romaguera and Jack Eric Williams brought the large cast of characters vividly and memorably to life. But it was Angela Lansbury and Len Cariou who, in career-defining performances, thrillingly anchored the proceedings and who effortlessly brought the gigantic Uris Theatre down to size. I've seen other productions of Sweeney Todd, but this, kids, was the real deal. Breathtaking. Simply breathtaking. - at the Uris Theatre, New York

August, 1979. Several months into the run, the show was as fresh as my first viewing of it. Cris Groenendaal had replaced Victor Garber as Anthony. (Garber was soon to go into rehearsals for the First National Tour of They're Playing Our Song.) Still stunning. Still magnificent. - at the Uris Theatre, New York

February, 1980. Len Cariou and Angela Lansbury were leaving the show at the end of the week, but their performances were still opening-night fresh and effortless. Betsy Joslyn had replaced Sarah Rice as Johanna. I was in New York to perform for an association of word processing professionals. (Remember word processors?) My fellow castmates were all associated with Waukegan Community Players, the community theatre group in my hometown of Waukegan. I'm not quite sure how our author and star got the gig, but it paid well, was great fun, and was an excuse to play in New York. My best friend Pat and others in the cast joined me at the Uris. Pat thought it was one of the finest performances she had ever seen. No argument from me, Pat. - at the Uris Theatre, New York




March, 1981. When the first national tour of Sweeney Todd played Chicago, it was unfortunately housed at the ghastly Arie Crown Theatre, an inhospitable barn of a playhouse seating over 4300 people that made Sweeney's New York home, the Uris, seem positively intimate. For whatever reason, I assume it had to do with money and box office receipts, the Arie Crown was, for a while, too long a while in my book, the theatre of choice for many of the larger musicals when they played Chicago. This was unfortunate, because even the singular talents of Angela Lansbury and George Hearn could not overcome the liabilities of this huge space. Eugene Lee's brilliant set was slightly altered for touring (no trap doors or rising from the depths of hell in the touring production), but otherwise this was a faithful replica of the Broadway original with many of the final Lansbury/Cariou cast continuing in the show. Lansbury remained a marvel and George Hearn was a powerful and frightening Sweeney Todd. Don't get me wrong; the performances and producition were all top-notch, but I so wish the producers had booked the Shubert instead. - at the Arie Crown Theatre, Chicago



May, 1994. The Broadway original may be the gold standard by which all productions of Sweeney Todd can be  judged, but this 1993 chamber-sized (18 cast, 10 orchestra) version produced by Great Britain's Royal National Theatre is my favorite. The reason? Two words: Julia McKenzie.  Wildly praised for her interpretation of Nellie Lovett, her earthly, sensual performance was a master class in how to take an already iconic performance (originator Angela Lansbury, thrilling and incredible) and make it truly, absolutely, totally your own. Lansbury's approach was daffier, a bit flakier, a bit on the cutesy side which made her Act Two scene with Toby, where she decides he must be killed in order to keep Sweeney Todd from being exposed, so potent. McKenzie's approach was broader, sexier, with a obvious survivor's attitude which made the same Act Two scene as potent as Lansbury's but with an added quality of calculated evil that made you almost gasp in despair because, up to that point, despite Mrs. Lovett's popping people into pies and the rest of her, let's be honest here, sociopathic behavior, you rather liked McKenzie's Mrs. Lovett. She was fun; she was funny; she was a Victorian good time. Plus McKenzie sang the absolute crap out of the score. In my book, this was and remains the definitive Mrs. Lovett. I am not alone in this opinion. I have read in several sources that Sondheim himself feels the same way. In fact, Sondheim has praised this production and its small chamber approach as being his original vision for the piece. As one would expect from the National Theatre, production values, though not as epic as the original, were top-of-the-line with a superb orchestra and a superb cast including Denis Quilley, who originated the role in the first London West End production in 1980. Seeing it in the intimate 890 seat Lyttelton Theatre made the entire experience powerful and unforgettable. Steve was ambivalent about seeing this, but he loved Julia McKenzie after seeing her in the London  production of Follies in 1987, so he was willing to give the show a try. He was a believer by the end of Act One. Highlight of the evening, however, had to be sharing a drink and a chat with Ms. McKenzie herself in the green room bar after the show. Classy lady; über-talented actor. - at the Lyttelton Theatre (NT), London




August, 2001. This semi-staged concert version originated in 2000 with the New York Philharmonic at Lincoln Center's Avery Fisher Hall, where it was recorded on CD. The following year it was produced in San Francisco, where it was taped for a PBS broadcast. In August, 2001, it played at Ravinia, Chicago's glorious outdoors concert venue in suburban Ravinia. Lonny Price's skilled direction gave a theatrical gloss to the proceedings. In the superlative cast were internationally acclaimed baritone Sherrill Milnes as Judge Turpin, Broadway veteran Davis Gaines as Anthony Hope, the wonderful Hollis Resnick as the Beggar Woman and Neil Patrick Harris (!!) as Tobias Rigg. But then, the icing on the cake:  George Hearn once again formidable and terrifying as Sweeney Todd and Patti LuPone as a deliciously amoral, comic and scary Mrs. Lovett. Add the glorious sounds of the large Ravinia Symphony Orchestra and a beautiful summer evening and, well, you have one magical evening. – at the Pavilion, Ravinia Festival, Ravinia, IL







October, 2005.  Director/Designer John Doyle's approach to having the actors also act as the orchestra was something revolutionary for Broadway, exciting and invigorating and yet, at the same time, somewhat unsatisfying, an opinion I would have a year later with his actors-as-orchestra production of Company. I had absolutely no quibbles about the talented and versatile cast of ten playing principals and chorus alike and the scenic, costume and lighting designs were all striking and original. What was missing, in my humble opinion, was the epic quality that the original certainly had, the chamber piece had and even the concert version had. For me, this flattened this wonderfully macabre tale and made it a little less, for lack of a better description, Sweeney Todd, if that makes any sense at all. Perhaps surprisingly, however, the music seemed fresher and more immediate and I credit orchestrator Sarah Travis for transforming Jonathan Tunick 's original orchestrations to perfectly fit this innovative concept and to perfectly showcase the musician talents of the cast. The casting of Pirelli as a woman didn't work for me, which is absolutely no reflection of Donna Lynne Champlin's performance. It was just a choice I didn't agree with. Special kudos to Mark Jacoby (Judge Turpin), Alexander Gemignani (The Beadle), Lauren Molina (Johanna) and Manoel Felciano (Toby). Top honors, however, go to Michael Cerveris, whose Sweeney was so charismatic and so downright hot, as in sexy hot, and yet so very, very frightening, and to Patti LuPone, whose Mrs. Lovett took on a completely different life from her Ravinia portrayal and gave us a very wry, very sardonic and the most cheerfully demented Mrs. Lovett I've seen. I enjoyed it quite a lot, yet this is my least favorite of the major productions I've seen of the show. On their first trip to NYC, our niece (age 16) and nephew (age 14) were not terribly impressed. – at the Eugene O'Neill Theatre, New York



September, 2011. A former student of Bob's was in the cast of this well-received production and that was the impetus for the trip to the 'burbs. This was an excellent production with terrific production values, superb singing and outstanding lead performances by NYC-imported Gregg Edelman and Liz McCartney that gave the show a Broadway sheen not often seen in Chicago regional theatre. The ubiquitous Rachel Rockwell did a fine job directing the show, keeping it more in the style of the original. Her penchant for "reimagining" and "reinventing" was only apparent in the decision to cast a young boy as Toby, a bold choice that, had director Rockwell taken the risk to go full-throttle with this approach, could have added a really disturbingly creepy element to the production. As presented, however, it was more Oliver! than Sweeney Todd and just had me bewildered. Overall, though, a solid production and well-worth the trip out to the hysterically decoratively overwrought Drury Lane. – at the Drury Lane Theatre, Oakbrook Terrace, IL

Whew!  That's it for now. Enjoy the week … and see a show.
© 2014 Jeffrey Geddes

Tuesday, November 11, 2014

AN EARLY FALL WEEKEND IN NEW YORK - October, 2014

AN EARLY FALL WEEKEND IN NEW YORK - October, 2014
Six shows; four days. Two musicals from the Golden Age of Musicals, a Kaufman and Hart classic lovingly revived, a revised and totally hysterical production of a 1985 Terrence McNally play, a star-studded remount of one of Edward Albee's most highly regarded plays and a thoughtful and very funny work by an exciting new(ish) talent. Quite a weekend! Here's the scoop.

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YOU CAN'T TAKE IT WITH YOU - Longacre Theatre, New York - October, 2014

  
Way, way up in the second balcony of the Longacre. I'm getting far too old to schlep up that many stairs! Great view and could hear every syllable.

Taken just before going in.

Next day...daytime shot. I like the logo better than Bob does.

  


An artistic director for a theatre company in the suburbs thinks of You Can't Take It with You as a high school play. Seriously? Well, then, I suggest seeing what's onstage at the Longacre to dispel that misguided opinion. Sumptuous to look at and acted with humor and affection by an A-list cast, this was a delightful revival of a theatre classic that magically transported the capacity audience back to a gentler, simpler time when everything could be solved with humor and good common, if sometimes eccentric, sense. I'm convinced that James Earl Jones could read the proverbial phone book and we would all be thrilled. His quiet, commanding presence gave a gentle gravitas to the role of patriarch Martin Vanderhof. Kristine Nielsen was a delightfully flaky Penny and, seriously, folks, would you have thought from her role in Damages that Rose Bryne could play comedy with such skill? And seeing Elizabeth Ashley onstage once again was a special treat. (Ashley was the original Corie in Barefoot in the Park back in 1963 and made her Broadway debut in 1959!) Filling in for Annaleigh Ashford in the role of ballerina-wannabe Essie was Barrett Doss and, as we've always experienced with New York understudies, she was excellent. She's also the understudy for Alice and Rheba. Three distinct roles with completely different energies all covered by the same actress. Think about it. In other words, this lass is very talented. A directorial choice by Scott Ellis to have actor Will Brill play Ed very gay was odd, unnecessary and out of step with the rest of the show in general and his otherwise spot-on direction in particular. Kudos to all, but special mention must go to the inimitable Julie Halston as Gay Wellington, whose drunken crawl up the stairs with unabashed scenery-chewing abandon was three minutes of non-stop hilarity. - at the Longacre Theatre, New York.

CAN-CAN - Paper Mill Playhouse, Millburn, NJ - October, 2014

On the way to the theatre...downtown Millburn, NJ 

 Bobby in front of the theatre.


 Gorgeous show curtain.


The Abe Burrows script, even with the new rewrite, wheezes and lurches along a bit, but that's all right because you have a terrific Cole Porter score, sensational show-stopping choreography, a splendid physical production and a talented cast that featured some star power from the dashing Jason Danieley and the golden-throated Kate Baldwin. Greg Hildreth as the sculptor in love with Claudine impressed yet again with his spot-on comic timing and his all-around likeability. Michael Berresse as Jussac was appropriately all ooze and slime and delightfully as close to a villain as this show gets. Special note must go to Megan Sikora as Claudine. We saw her earlier this year in Marriott Lincolnshire's underwhelming production of Cabaret and found her Sally Bowles bland and uninteresting. Not here. Funny, charming, with a terrific voice and outstanding dance moves, she proved what a talent she is with a good director and choreographer. Both Bob and I are big fans of the aforementioned Mr. Danieley and Ms. Baldwin. Both infused their performances with class, charisma and lush vocals. "C'est Magnifique," "I Love Paris," "It's All Right with Me," "Allez-Vous En" and "I Am in Love" were thrillingly, goose-bumpily sung to perfection by Mr. Danieley and Ms. Baldwin. And I can't forget the comic highlight of the show "Never, Never Be an Artist." There are lots of reasons why the original production ran nearly 900 performances. A piece of fluff, perhaps, but ooh-la-la, c'est magnifique! - at the Paper Mill Playhouse, Millburn, NJ

ON THE TOWN - Lyric Theatre, New York - October, 2014
First it was the Ford Center, then the Hilton, then the Foxwoods, now the Lyric. What will it become next?



Just two days earlier, this revival of On the Town opened to rave reviews. This is the show that put Adolph Green, Betty Comden and Leonard Bernstein on the musical theatre map. It's a show many put on the short list of seminal, iconic musicals. For me, however, it's a musical of diminishing returns, despite a stunning production, a huge orchestra in the pit (30 if my count is correct) and a likable, attractive bunch of talented actors. The characters, especially the women, are cartoons. Only Jay Armstrong Johnson as Chip registered as a three-dimensional person. The plot is wafer-thin. The second act is all but non-existent. The choreography was perky or artsy as the situation warranted, but paled in comparison to that over at Can-Can and simply became too much of a good thing. Like You Can't Take It with You, this show also features a bonafide scenery chewer. But unlike Julie Halston, whose unerring instincts inform her just how far to take a bit or a piece of business before it becomes too much, Jackie Hoffman was mugging and ad-libbing to the extent that after a while, I actually cringed whenever she made an appearance. That made me sad because I love Jackie Hoffman. Her performance in Xanadu was a comic marvel, but in this show, she seriously needed to be reined in. And I found the portrayal of the MC of the Miss Turnstiles segment as a mincing, gay black man offensive. Ditto that of the two gay men in the Carnegie Hall scene. I'm sure neither were in the original. I don't care when the show was written; this is 2014. It wasn't fun. It wasn't clever. It was just offensive. But that's just me. The audience was clearly having a ball, giving long and loud ovations to many numbers. Curiously, however, when bows came, the hard-working cast received the obligatory standing ovation, but the cheers that accompanied the numbers were absent. It was almost as though the good folks at the Lyric enjoyed the parts more than the whole. Having said all this, though, to hear the Bernstein score played and sung with such skill was great and the evening was enjoyable. I'm glad I saw it. I just wasn't bowled over. For me, it's just On the Town. And, frankly, I could have done without the national anthem being played at the start of the show. Somehow that seemed, I don't know, inappropriate. - at the Lyric Theatre, New York.
        Sidebar: The time has come to keep theatres theatres and not substitutions for your
        living room, your favorite bar or a restaurant. Theatres have long allowed beverages
        and snacks into the auditorium, but at the Lyric they have finally gone too far and have
        introduced something called "Ordertorium." Menus were placed in a holder on the back
        of the seats and patrons can hold up these menus and order food and drinks directly
        from their seats. Thankfully, not during the show itself, but the ease one can obtain
        these things diminishes the experience. During the second act, the smell of Scotch was
        so overwhelming, I was getting an alcoholic rush. By all means, enjoy a snack and 
        cocktail…in the lobby. In the auditorium, let's keep it to just bottled water. Okay…I'll 
        get off my soap box now.

IT'S ONLY A PLAY - Schoenfeld Theatre, New York - October, 2014





The all-star lineup.

Yours truly with some pals from the play. We're all thisclose.

It wasn't at all surprising, given the star-studded cast of theatre vets, that Terrence McNally's play about the theatre would be funny. What was surprising, perhaps, was how relentlessly funny it was. Gasping-for-breath funny. Applause-on-exit funny. And who knew Stockard Channing could be so downright hysterical? A cast with this many award-winning stars could result in everyone stepping on everyone else's toes, but this cast was crisp, precise and a true ensemble. Special kudos to "and introducing" Micah Stock at the would-be-actor working as one of the party staff. His deadpan delivery and earnest cluelessness was a delightful contrast to the zaniness of the rest of the characters. McNally revised his 30-year-old play to make it up-to-the-minute current and everything theatrical was fair game. The simply gorgeous set by Scott Pask was a treat for the eyes. Packed house. Good luck getting tickets. - at the Schoenfeld Theatre, New York
        Sidebar: Definition of both a trouper and a star… During the run of Other Desert Cities,
        Stockard Channing had knee surgery to correct an earlier injury and was out of the show. 
        When we saw it, she had just returned to the show, having missed only a handful of 
        performances. Performing in a brace, she was absolutely brilliant. The knee flared up 
        again during previews of It's Only a Play and she was out on doctor's orders. She 
        returned ASAP to the show and when we saw the show, she was absolutely brilliant 
        (again!) and this time had a cane with her, which she used from time to time, primarily
        for support when standing. This is what true theatrical troupers and genuine stars do. 
        They get their injuries taken care of and then they get back to business as soon as they 
        can get a doctor's release because, well, they're stars and above the title and people paid
        a lot of money to see them. And they deliver the goods. Something younger performers 
        should remember as they call in sick because they have the sniffles or a hangover. Just 
        saying….

BOOTYCANDY - Playwrights Horizons, New York - October, 2014





The scenes in which the protagonist was not directly involved were all a shade too long, but overall Robert O'Hara's bracing play about being black and gay was full of both laughs and thought-provoking scenes. Playwrights clearly doesn't skimp where money is concerned and the physical production was impressive. Even more impressive was the caliber of acting given by the ensemble cast of five. This was the final performance and everyone was giving their "A" game. Not a perfect play and it won't be everyone's cup of tea, but I hope this play has a long and successful life. - at Playwrights Horizons, New York

A DELICATE BALANCE - Golden Theatre, New York - October, 2014














First preview! Edward Albee's unhappy, elegant and literate play about the delicate balance called life was brought to vivid life by a cast that included Glenn Close, John Lithgow, Lindsay Duncan, Martha Plimpton, Clare Higgins and Bob Balaban. I wanted to move into Santo Loquasto's beautiful set. There were a few minor tech issues and some lines flubbed here and there, all duly noted, I'm sure, by the production staff sitting a few rows behind us and armed with laptops and yellow legal pads. Ms. Close, making a return to the stage in almost twenty years, has a presence even when she is an observer in the proceedings. Lindsay Duncan has won a Tony and two Oliviers (the London equivalent of the Tonys) and for good reason. Claire is arguably the showiest role in the piece and Duncan skillfully mined all the humor and sadness of this complex character. Martha Plimpton was simply wonderful. In the smaller roles of the neighbors, Clare Higgins and Bob Balaban (the original Linus in You're a Good Man, Charlie Brown back in 1967!) were powerful and really kinda creepy. John Lithgow's breakdown scene, however, clearly took the evening's acting honors with an almost terrifying depth and nuance. Already in good shape, this is a solid revival of one of Albee's finest works. - at the Golden Theatre, New York

And that's it for now. Next time, I'll chat about some more top twenty-five musicals. Ta!
© 2014 Jeffrey Geddes






CONCERTS AND TUNERS AND PLAYS…OH, MY! - vol. 1

  CONCERTS AND TUNERS AND PLAYS…OH, MY! vol. 1 Spring is finally here. And what better way to celebrate than by strolling down theatrical ...