MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS – Part 17b THE TOP TEN – #2 NOTE: Due to the length of this entry, I'm dividing it into two parts. This is part two of two.

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS – Part 17b

THE TOP TEN – #2

NOTE: Due to the length of this entry, I'm dividing it into two parts. This is part two of two.

Livent's demise may have meant the end of lavishly expensive productions of the epic Ragtime, but the show's legacy had only just begun with the arrival of outstanding productions that were more modest in scope, but overflowing with passion and heart. 

– Paper Mill Playhouse, Millburn, NJ

June, 2005. Based on director Stafford Arima's pared-down 2003 London production, Paper Mill's Ragtime may not have been Livent-big, but the loss of bells and whistles made the show more accessible and more powerful. The set was elegantly functional, a series of frosted glass panels, topped by a slanted scrim and a catwalk. It was deceptively simple and it worked beautifully. The nineteen-piece orchestra played the glorious score to perfection, and Arima populated his show with an superlative cast of first-rate actors, lead by Quentin Earl Darrington as Coalhouse and a luminous Rachel York as Mother, who nailed every note of Mother's journey. Betsy Wolfe was a totally delightful Evelyn Nesbitt, even if she didn't get a swing to swing on. Kenita R. Miller was a heartbreaking Sarah. On a par with the original Toronto production, this was memorable in every way. We adored it. – at the Paper Mill Playhouse, Millburn, NJ

– Neil Simon Theatre, New York

Wow. Just wow! The amazing set.

December, 2009. When the curtain rose at the Neil Simon Theatre, the audience burst into sustained applause at the opening tableau that greeted them. And rightly so, for Derek McLane's soaring set, with the cast members posed on all the levels, was a sight to behold. Like the earlier Paper Mill production, director Marcia Milgrom Dodge brought her critically-acclaimed Kennedy Center production to Broadway and focused on Terrence McNally's book and the characters he developed, with the glorious Flaherty and Ahrens score played by 28 talented men and women in the pit, making this Ragtime a feast for the ears. With solid performances by Quentin Earl Darrington, reprising his Paper Mill role, Christiane Noll, the only good thing about the mediocre Jekyll and Hyde of years past, as Mother, Ron Bohmer as Father, Stephanie Umoh as Sarah, Christopher Cox and Sarah Rosenthal as The Little Boy and The Little Girl, and a simply compelling Bobby Steggert as Younger Brother, this cast hit all the right notes and then some. From the sixth row of the orchestra, everything was up close and personal. This was a truly lovely revival of this incredible musical, full of sensitive and subtle touches that brought out this musical's innate beauty. Sadly and inexplicitly, however, it failed to find an audience, struggled for its entire run at the box office, and closed after a sinfully brief run of 28 previews and 65 performances.

Marketing Fail:  Jan Nargi, of JMN Entertainment, wrote an interesting article shortly after this revival closed suggesting that an uninspiring marketing campaign failed to excite interest in the show, resulting in failure to get people to the box office. Among the points brought up was the lack of promoting the show's pedigree, its many awards won, its failure to make the show a "must see." Nargi also felt the marketing folks were too busy focusing on the big ticket issues the show touches on rather than focusing on the three very human stories that make up the heart of Ragtime. Nargi also had issues with the show's slogan, "Their Time. Our Time. Ragtime.," asking what does all that mean? A very valid point in my opinion. Also suggested was the lack of star power that just didn't spell box office and a return to Broadway after too short a time. Here's the link if you'd care to read it. I found the article fascinating. http://jmnpublications.com/blog/2010/01/marketing_didnt_give_ragtime_i.html

– Drury Lane Theatre, Oakbrook Terrace, IL

May, 2010. Quentin Earl Darrington was once again playing Coalhouse in Drury Lane's expensive, elegant, and evocative production of Ragtime. With pitch-perfect direction by the late Rachel Rockwell, this lovely staging hit all the emotional notes, gave us all the humor, and offered its audiences a stunning rendition of that sensational score (I counted 23 musicians in the pit!). Loaded with top Chicago Equity talent, this Ragtime soared and touched the heart. In addition to Darrington, the cast included Chicago favorites Larry Adams (Father) and Catherine Lord (Emma Goldman), Mark David Kaplan (Tateh), Max Quinlan (Younger Brother), Valisia LeKae (Sarah), Stev Tovar (Houdini), James Earl Jones II (Booker T. Washington), a seriously good Summer Naomi Smart (Evelyn Nesbitt), and, last, but most certainly not least, an incandescent Cory Goodrich as Mother, who simply dazzled when, alone on the stage, she conquered us all with "Back to Before." Absolutely first-rate!. – at the Drury Lane Theatre, Oakbrook Terrace, IL

– Avery Fisher Hall, New York

The Lincoln Center stop on the 1 train.

<edited from a previous post>

February, 2013.  This was a one-night only event that was not to be missed. And I'm so glad we didn't! A 36-piece orchestra; a chorus of over 100 comprised of Broadway Equity talent and amateur singers from across the country; a cast that included, in alpha order, Michael Arden, Phillip Boykin, Kerry Butler, Matt Cavenaugh, Lilla Crawford, Tyne Daly, Jarrod Emick, Manoel Felciano, Lewis Grosso, Dick Latessa, Norm Lewis, Jose Llana, Michael McCormick, Howard McGillin, Patina Miller, Lea Salonga and NaTasha Yvette Williams, and a completely sold out house.  It was insane!  And wonderful!  And a memory that I will cherish.  Top honors go to Lea Salonga as Mother who's perfectly sung "Back to Before" was rewarded with a thunderous ovation that rocked Lincoln Center's Avery Fisher Hall.  Other top kudos to Michael Arden's Younger Brother, Howard McGillin's Father, Patina Miller's Sarah, and Manoel Felciano's Tateh.  As Coalhouse, Norm Lewis was fine, but oddly low-key. Although nicely sung, he never soared, and his "Make Them Hear You" didn't elevate.  He was the one "okay" in an otherwise WOW evening.  Simply divine! - at the Avery Fisher Hall, Lincoln Center, New York

– Quadracci Powerhouse, Milwaukee

September, 2013. After seeing many different productions of Ragtime over the last two decades, it's my belief that, at the end of the day, the success of the show hinges on the performances of the actors playing Mother and Coalhouse. As Mike Fischer, of the Milwaukee Journal Sentinal pointed out in his laudatory review, Mother and Coalhouse have the longest dramatic arcs, the most fully-defined characters. I'd never really thought of it that way before, but he's one hundred percent correct. And at the Milwaukee Rep, these roles were exquisitely handled by Gavin Gregory and, in a towering performance that lifted the show, Carmen Cusack as Mother. Seriously, folks, is there anything Ms. Cusack, can't do? The cast was a knockout from leads to ensemble. Beautifully designed, directed, and choreographed, with a top-drawer orchestra kicking musical ass, this was a Ragtime to cherish. – at the Quadracci Powerhouse (Milwaukee Rep), Milwaukee

– Griffin Theatre Company, Chicago

July, 2017. And then there was this production. Oh, where to begin? An interminably long line at the multi-venued Den Theatre box office greeted us as we entered the space. Our seats were located in a side section of the theatre. Not our choice since probably 2/3 of the seats had reserved signs on them, and this in an open seating production. The very small orchestra of two pianos and a clarinet worked mightily, but everything sounded thin. And then there were the performances. In a show where it's an absolute necessity to have a strong Coalhouse, Griffin's Denzel Tsopnang was a miss. His acting reflected no fire or energy and, frankly, his vocal chops left much to be desired. Laura McClain, as Mother, was satisfactory until it came time to "Back to Before," and, sadly, she couldn't bring it home. I felt sorry for Katherine Thomas. Her Sarah was lovely, and I was saddened that she didn't have a better production in which to showcase her. This non-Equity storefront production received good reviews overall, but the show the bloggers and reviewers gave thumbs up to was not the show we saw. This was near the end of a long run. Maybe everyone was tired. Maybe not. In any event, it wasn't very good. The interval discussion was centered around whether to go or stay. We stayed. I wish we hadn't. – at the Griffin Theatre Company at the Den Theatre, Chicago

– Marriott Theatre, Lincolnshire, IL

March, 2018. The casting folks at Marriott Theatre had the good sense to cast Kathy Voytka (Mother), Katherine Thomas (Sarah), and Nathaniel Stampley (Coalhouse) for their critically-acclaimed arena staging of Ragtime. Add in a cast of Chicago favorites for smaller roles, a cast with terrific voices, and great direction by Nick Bowling, and the result was an outstanding production. We're fans of both Voytka and Stampley, and it was so gratifying to see Thomas recreating Sarah in a first-rate production (see previous entry). I thought she was good in the Griffin production; I thought she was terrific in this one. Special kudos to Keirsten Hodgens, who as Sarah's Friend, led one of the most affecting versions of "Till We Reach that Day" that I have seen. I don't think there was a dry eye in the house. Doing a huge show like Ragtime within the confines of a relatively small arena stage is a challenge; doing it well is a triumph for all concerned. This was a triumph. Without a doubt, this was one of the finest productions I've seen at Marriott, and I've been going there since the 1970s. Well done, all! – at the Marriott Theatre, Lincolnshire, IL

Coming up soon…a star-studded concert of Ragtime in New York, a benefit for The Actors Fund, and starring original cast members Brian Stokes Mitchell, Audra McDonald, and Peter Friedman. Can. Not. Wait.

Until then…ciao!

© 2020 Jeffrey Geddes

NOTES FROM NEW YORK CITY

NOTES FROM NEW YORK CITY

(June 6-11, 2013)

Six shows; five days. It's what Bob and I do. We love the theatre. Museums and sights are fine, but for me, nothing beats sitting in a darkened theatre and watching the magic that only occurs in live theatre. Oh sure, sometimes the shows are not very good; sometimes, in fact, they're pretty awful, but good, bad or indifferent, it's fascinating and exciting and I love it. (Sidebar: I am also mad about theatres, the buildings, as well. I'm thrilled when I have the opportunity to wander around a theatre…walk on the stage, go up to the highest balcony, poke around the backstage area. When doing that, the history of that building comes alive for me. It's as exciting as watching a show, walking on the same stage as some of our finest actors and seeing what they see as they look out from center stage.) I digress. Seeing shows on Broadway during Tony week has an extra layer of excitement to it. Actors in Tony-nominated shows seem to add a bit more spark to their performance. We saw Pippin on the afternoon of the Tonys and the cast was almost giddy with excitement. You could feel it and it made an electric performance even more electric. During this visit, all except one of the shows we saw had at least one Tony nomination to its credit (more on that later) and over the past Broadway season we saw many of the nominated shows, revivals and actors. It was a privilege to spend time with so many talented artists and from the bottom of my heart, I thank you! You all have enriched my life.

Without further ado....

June, 2013. Family. Expectations. Friendship. Loss. Betrayal. Love. A memorable evening at the theater. Flawless acting by the entire cast, but special kudos to Jessica Hecht, Jeremy Shamos and Tony-winner Judith Light for anchoring this exceptional cast with their honest, truthful performances. Gorgeous set by Santo Loquasto provided the environment for Richard Greenberg's solid, wonderful and multi-layered script that skillfully and effortlessly worked its magic. A perfect way to start the weekend. - at the Friedman Theatre, New York

 

June, 2013. When Nathan Lane is on target, he's a wonderful, nuanced actor. And he was a wonderful, nuanced actor often during the evening. When he screams, however, he's not. He screamed a lot in this play which isn't to the play's benefit. (Note: He screamed a lot in The Iceman Cometh last season at the Goodman here in Chicago and that didn't work either.) I don't know if the screaming is a Nathan Lane thing or a director's thing, but, news flash, kids, screaming is not always the best choice when expressing strong emotion. When Lane screams his way through dialogue, all subtlety disappears and he's just another loud actor. I felt there were too many burlesque routines, which were entertaining and telling in their own way, but took away from the story. I wanted to know more about Chauncey and his internal and external struggles. Solid performances by a talented cast, but I have to single out Jonny Orsini as Chancey's lover, Lewis J. Stadlen as Chauncey's boss, and an especially wonderful turn by Cady Huffman as the socialist-leaning and wise burlesque performer. From a production point of view, this was awesome (and won Tony Awards for Scenic Design (John Lee Beatty), Costumes (Ann Roth) and Sound Design (Leon Rothenberg)). A super band helped provide period atmosphere.  I felt there were missed opportunities in Douglas Carter Beane's script, but overall, I enjoyed it quite a lot and I'm glad I saw it. But, Nathan, honey, turn down the volume!! - at the Lyceum Theatre, New York

June, 2013. The critics fainted over it. This was it: the musical everyone had been waiting for. I was so looking forward to it and, sadly, so disappointed by it. Rarely have I seen a show so manufactured to such a shiny sheen. Lots and lots of money was spent on this show. And yet, for all its glitz and technical wizardry, I have seldom seen a show so almost totally devoid of heart and warmth. Low bows to Lauren Ward as the caring Miss Honey for providing what warmth there was with a nice, understated performance. Playing Matilda that afternoon was Milly Shapiro, the Matilda of opening night and the recipient of glowing reviews. Although obviously talented, she had little presence and not a whole lot of energy. I know the character is downtrodden, but, seriously, a little energy would be nice. Gabriel Ebert's Tony-winning turn as Matilda's loathsome dad was fun - cartoonish, but fun. Bertie Carvel recreated his celebrated role here in New York and it was good, but I'm not quite sure what the fuss was about. Full disclosure: there were great moments here and there throughout the show, but great moments do not make for a great show. Major, major complaint: diction pretty much sucked (exceptions: Ms. Ward, Mr. Ebert, and Lesli Margherita who played Matilda's mother), especially by the overwrought tykes who played their roles as though they were hyped up on massive doses of amphetamines. And in my book, with all the electronic aids available to boost an actor's volume these days, there is absolutely no excuse for bad diction. Except for the scenes with Ms. Ward, everything was played at the same level: loud and very intense. Tim Minchin's score was not terribly memorable with the exception of Ms. Ward's numbers, especially the really quite wonderful "My Room" (I said there were moments throughout) and "Quiet," which was nicely done by Miss Shapiro, in a rare exhibition of stage presence. I suspect I might have felt differently about the score had I been able to understand what was being sung. Production-wise it was a wow. The kids seated near us were bored out of their minds and the audience reaction was somewhat muted. The other show named after a girl is so much better. Major misfire. - at the Shubert Theatre, New York

June, 2013. A gentle, life-affirming play beautifully designed and sensitively directed and performed by a cast of talented actors who brought everything brilliantly to life. Vanessa Williams, Cuba Gooding, Jr and Condola Rashad were pitch-perfect. (FYI: Tom Wopat was out; his cover was fine.) Cicely Tyson took my breath away. Funny, dignified, determined, loving and stubborn, she effortlessly wound the audience around her talented little finger. So much so that during a scene where her character started singing a hymn, a large portion of the audience, by this time completely in the palm of Ms. Tyson's hand, started singing along with her. Not softly, mind you, but at full volume. There was even a "Amen, sister!" at the end of the hymn. And then later when Ms. Tyson's character received bad news about a childhood friend, there were gasps and groans of "Oh, no!" from the house. I'm telling you, this audience was involved. There's a reason why she's considered one of our premiere actors, folks. A theatrical treat! (Note: her Tony win as Leading Actress in a Play was well-deserved. Brava!) - at the Stephen Sondheim Theatre, New York

June, 2013. Simply put...Pippin is terrific! To be truthful, this rather surprised me since up until now, I've never been a big fan of the show. The original production was performed without an intermission, which made for a very long sit, the finale went on forever and pretty much made no sense, and there was an archness to it that I found off-putting. Back in the early 70s, I found it entertaining enough and have always felt the score was one of Stephen Schwartz's two best, but never especially wanted to see another production of it. (Sidebar: the other best score is The Baker's Wife, which contains his best song ever, and one of the finest theatre songs written, "Meadowlark." Sorry, kids, but Wicked is skillful pabulum and "Defying Gravity" is a lot of over-amplified screechiness.) When I read reports of director Diane Paulus' reinvention and reinterpretation, I feared it would be a hot mess. Happily, and deliriously so, I was proven wrong. The circus motif works beautifully, adds meaning and depth to Roger O. Hirson's book and even manages to camouflage the show's weak spots (primarily in Hirson's book). The ensemble is not only gorgeous to look at, but also insanely talented who not only sing and dance, but also do acrobatics the likes of which I have never before seen on the musical stage. A deserved standing ovation mid-Act One for Tony-winning Andrea Martin after she knocked it of the park with her show-stopping number. Terrence Mann and Charlotte d'Amboise delightfully chewed the scenery (and Charlotte gave us a nifty dance as well...bonus!!). Rachel Bay Jones was both funny and touching as Catherine. Matthew James Thomas was spectacular as Pippin and, hold on to your Ben Vereen hats, Tony-winner Patina Miller was a wow as the Leading Player, seductive and dangerous, often at the same time, and with a million watt smile. FYI: Thomas & Miller's version of "On the Right Track" killed! Suitably impressive production bells and whistles. This had everything Matilda lacked. I was completely bowled over! - at the Music Box Theatre, New York

June, 2013. I have no idea what the Tony nominating committee was thinking, or more appropriately not thinking, when they failed to nominate Bette Midler for her riveting, hysterical, profanity laden, vulnerable and ultimately touching tour-de-force as agent Sue Mengers in I'll Eat You Last: A Chat with Sue Mengers. She was simply sensational and reaffirmed my belief that given good material, she's an amazing actor. Everything was first-rate, especially  John Logan's solid, involving and gossipy script delivered to perfection by the Divine Miss M. A perfect end to our latest journey to theatre Nirvana. - at the Booth Theatre, New York

This was such a terrific excursion to New York. We stayed at an apartment downtown (Airbnb...highly recommeded) which made for a home-away-from-home atmosphere and saw some terrific theatre. What are you going to see this week? And I'm trying out a new format with this edition. I felt the credits page was hard to read so I decided not to combine the cover and credits on one page. Until next time..... Ciao.