Wednesday, February 5, 2014

TWO QUICK TRIPS EAST: NOVEMBER & DECEMBER, 2013

TWO QUICK TRIPS EAST
NOVEMBER & DECEMBER, 2013

In November and December, 2013, Bob and I took two quick trips to Washington (November) and New York (November-December) to catch some shows. The impetus for the Washington trip was to catch a performance of the Broadway-bound If/Then starring Idina Menzel in her first Broadway appearance in almost a decade. Going to a benefit for Broadway Cares/Equity Fights AIDS was the reason, not that we ever need a reason, we journeyed to New York on the Saturday after Thanksgiving. In addition to If/Then and the benefit, we saw two outstanding new plays and two fun new musicals.


Since If/Then is one of this season's most highly-anticipated musicals, let's chat about that first.







November, 2013. Second preview performance. Confusing, very confusing, storytelling that had us and, according to overheard snippets of conversation, others bewildered. And that is a major problem because if your audience can't follow what's happening onstage, it's really hard to get involved with the characters. In their follow-up show to the absolutely amazing Next to Normal, creators Brian Yorkey and Tom Kitt give us a decidedly mixed bag. Book writer Yorkey offers the tantalizing concept of if you go down this path, the results are "A," but if you go down this other path, the results are "B," hence the title If/Then. (Sort of a companion to Follies' "The Road You Didn't Take."). The problem was that I was never quite sure if the show was on Path A or Path B. And, why, why does the plot involve urban planning? What does that have to do with if A, then B? The score by Yorkey (lyrics) and Kitt (music) is mostly solid with a kickass 11:00 number for the leading lady and a totally fabulous comedy number, "What the Fuck?"

But, justified or not, the selling factor, the reason bums are in seats, is not due to the presence of the Pultizer Prize-winning Yorkey and Kitt, but due to the presence of its leading lady in her first Broadway appearance in nearly a decade, Tony-winner Idina Menzel. First of all, let me state unequivocally that I think Menzel is a terrific singer. She knows how to interpret and phrase lyrics and she knows how to shade a song musically. For proof, I offer her 11:00 number (song titles not listed in the program since the show was in tryout mode) which was absolutely thrilling and her deft comic chops in "What the Fuck?" As an actress, however, she's not quite as impressive. Keep in mind that If/Then is only her third Broadway show. She's been away from the stage for a number of years. While always competent, she was frequently tentative, as if she didn't totally trust her instincts or trust the director's guidance, and, frankly, just not a very exciting actor. It was a star turn without much star power, at least at the performance I saw. And how you respond to Menzel's character largely depends, I believe, on how willing you are to accept that Menzel's character has a PhD in urban planning. I didn't quite buy it. No reflection on Menzel's intelligence, but she just didn't come across as a sharp academic. (In the same category, but not quite as unbelievable as Cameron Diaz as a surgeon in the overrated "Something About Mary" or Dyan Cannon as a judge in "Ally McBeal.) Don't shoot the messenger, but the story would have been better served had co-star LaChanze and Mendel switched roles.

And speaking of LaChanze… She was a marvel to behold, as always, lit up the stage whenever she was on and easily overshadowed Menzel whenever the two appeared together. And, no, LaChanze was not doing this deliberately. Her stage presence and confidence is just more powerful, at least at this stage of the If/Then game, than Menzel's. Third-billed Anthony Rapp was saddled with the evening's worst song, a paean to the romance of buildings or something like that (it didn't make much sense and went on forever), and his role as an urban activist who has apparently no discernible source of income, and if he does, I missed it, and lives as a squatter in buildings that the city urban politicos want to tear down, could easily be his character in Rent twenty years later. Jason Tam, Jenn Colella and especially the engaging James Snyder all provided solid support. The talented ensemble was misused in some of the worst musical staging I've seen in a long time. Expensive and cool set.

Overall this show has the potential to be a successful and satisfying hit, but it needs lots of work. Focus needs to be tightened, the leading lady needs to bump up her acting, and the overall staging needs to be revisited. In only its second performance in front of an audience, it was entertaining and never boring, but also kind of a hot mess. I truly wish it well. - at the National Theatre, Washington, DC


Signature Theatre in Arlington, VA. One of the great regional theatres in the country.

November, 2013. Funny. Intense. Funny. Heartbreakingly intense. Devastating. Disturbing. This new play by Paul Downs Colazzio in its world premiere production was involving and never dull. Signature clearly spent big bucks on the impressive physical production. Michael Kahn directed a superlative ensemble cast: Wayne Duvall, Anthony Bowden, Christopher McFarland and especially Christine Lahti in a superbly acted and nuanced portrayal of a woman whose world collapses around her. It wasn't a perfect play, but I was riveted and look forward to seeing more from this exciting young talent. - at Signature Theatre, Arlington, VA








November, 2013. The world premiere of a Terrence McNally play? Yep, I'm there. This glorious love letter to the theatre from the early Greeks to today's theatre frequently intermingled time frames and was often very funny, sometimes quite dense and continuously fascinating. An incredibly wonderful set filled the wide stage at the Pearl and was as much a part of the show as the actors. And what actors! True ensemble acting is always exciting to watch and this was truly an ensemble effort. Everyone brought their "A" game to the performance from their personal introductory speeches to the final bows. It's not for everyone, but I can see a bright future for this play in adventurous university theatre. I'd love to see TimeLine tackle this. Kudos to all involved and thanks for an exciting, thought-provoking night at the theatre. This is what it's about. - at the Pearl Theatre, New York





December, 2013. Witty, elegant and very, very funny. The literate and clever book by Robert L. Freedman was complemented by a tuneful and clever score Mr. Freedman and Steven Lutvak that included two full-tilt show-stopping numbers in the second act. The show opened with a delicious patter number and, praise be!, you could understand every lyric!! Absolutely flawless diction throughout. (Actors, take note. it can be done!) The sets, costumes and lighting were spot-on. It was directed with considerable style and flair by Darko Tresnjak. And a standing "O" for the dressers backstage who manage to get people in and out of elaborate costumes in far less time than it took Carrie Underwood to change into her wedding gown. (Everyone made such a big deal that this change took Underwood and crew only 50 seconds. BFD.  Child's play for the wardrobe people at the Walter Kerr. Let's talk about 10 seconds, if not less.) Smashing ensemble and big applause for the terrific supporting ladies: Lisa O'Hare, Lauren Worsham and Jane Carr and starring two incredibly talented men: Jefferson Mays and Bryce Pinkham. Simply delightful and so, so clever. A show not to be missed. - at the Walter Kerr Theatre, New York






December, 2013. A modest musical by James Lapine and William Finn and directed by Lapine that was loaded with charm and heart. A-list talent in all departments. Perhaps the expectations were too high for this show which may explain the decidedly mixed critical response, but we quite enjoyed it. There were some lovely songs and touching moments and solid acting by the accomplished cast which included Stephanie J. Block, Will Swenson, Josh Lamon, Rory O'Malley, David Rasche, Logan Howland, Wesley Taylor and a remarkable performance by young Hannah Nordberg as Olive. Well done, all. - at the Second Stage Theatre, New York





December, 2013. Our first time attending this annual benefit performance for Broadway Cares/Equity Fights AIDS starring the multi-talented Ann Harada, reprising her role of Christmas Eve from Avenue Q. We applauded like mad and cheered and in general carried on with total glee. And who wouldn't with this lineup of handsome and talented guest stars: Aaron J. Albano, Adam Chanler-Berat, Santino Fontana, Jordan Gelber, Greg Hildreth, Jose Llana, Howard McGillin, Leslie Odom Jr., Clinton Sherwood, Howie Michael Smith, Wesley Taylor and Max von Essen. (And yes, Messrs. von Essen and Taylor, feel free to take off your shirts anytime!)  Such talent; such joy. And all for a magnificent cause. And for the record, Ann Harada's real voice is, well, pretty damn awesome. - at XL Nightclub, New York

That's it for now. See live theatre this week.
© 2014 Jeffrey Geddes

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