THE IMPORTANCE OF BEING SANTINO (with guest appearances by Spidey, Emily and those wacky Chekhov kids!)

THE IMPORTANCE OF BEING SANTINO

(with guest appearances by Spidey, Emily and those wacky Chekhov kids!)

While on our most recent trip to New York City (March 17-20, 2013), we enjoyed four productions. The specific purpose of this trip was to attend, for the 6th year, Broadway Backwards, the marvelous annual benefit for New York's LGBT Center and Broadway Cares/Equity Fights AIDS. (see previous blog) We also saw one of Bob's former students in quite possibly the most talked about musical in Broadway history, a tear-inducing-from-laughing-too-hard comedy and the first Broadway production of a beloved Rodgers and Hammerstein work. In the R&H work, we had the opportunity to once again see a familiar and talented actor, Santino Fontana.

Santino Fontana is not just another pretty face. Make no mistake: he is mighty handsome, but he's also a mighty talented, multi-faceted actor who can sing and dance with the best of them. He's given impeccable performances in the four shows (to date) that I've seen him in: as the loving, protective older brother in Billy Elliot; as Oscar Wilde's sophisticated and witty Algernon Moncrieff in Roundabout Theatre's stunning production of The Importance of Being Earnest, as the unlikely hero with chronic pain and a more-than-slightly off-kilter family in Sons of the Prophet; and most recently as the sweetly clueless and totally charming Prince Topher in Cinderella. In addition, he currently can be seen on the wonderful web series "Submissions Only," which, in my opinion, should be required viewing for anyone in or interested in the theatre. (Sidebar: also be sure to check out another outstanding web series, "It Could Be Worse.") He's among the best of the under-35 actors currently working in the theatre and I can only hope that the theatre has the good sense to keep him and not lose him to television or film.  Oh, okay. TV and film can borrow him, but that's it. I predict it won't be long before we see his name above title on a brightly lit Broadway marquee.

Let's start off with the Fontana archives.

October, 2008. Preview performance to celebrate Bob's 60th. This import from London is one of my top 25 musicals. By this time, we'd already seen the show three times in London and were thrilled when the Broadway production was announced. The film is also among my favorites. The story about a boy who dreams of escaping the dreariness of life in a coal-mining town in northern England during the Miners' Strike of 1984 resonates with warmth, heart and love while making some not-so-subtle political points. While the story may be universal, the musical itself is English to the core and I wondered how it would do in the move across the Pond. Some minor book changes were made and a program note helped to clarify the references to the odious Thatcher regime, but the heart of the show remained intact and the glorious dancing and the terrific Elton John score were wonderfully realized, but, somehow, the show didn't tug at my heart as it usually does. The performances by Haydn Gwynne (in her original role as Mrs. Wilkinson), Gregory Jbara (Dad), Carole Shelley (Grandma), Santino Fontana (Tony), Trent Kowalik (Billy), Frank Dolce (Michael) and Leah Hocking (Dead Mum) were all spot-on and couldn't be faulted. And certainly, the physical production remained a marvel. Yet, and I couldn't tell you why, the London version seemed more raw, more accessible; the Broadway edition seemed perhaps a tad too slick and polished for its own good. Like I said, I can't tell you why I felt that way, I just did. The show received ecstatic reviews and it won a slew of Tonys, but didn't become the mega-smash everyone thought it would become. It didn't fare terribly well on the road either. A Chicago sit-down version closed early in the wake of mediocre business and lukewarm reviews and other road companies ended after modest tours. But, no matter what the reception here in the States, this is a marvelous work. - at the Imperial Theatre, New York

January, 2011. Perfection. No, seriously, folks, absolute perfection. Sumptuous costumes, perfect lighting and a stunning physical design were a treat for the eyes and the superb acting, lead by Brian Bedford in a performance not to be missed (and he didn't win the Tony Award because???), dazzled us at every turn. Mr. Bedford's casting as Lady Bracknell was not, I repeat not, stunt casting. He was every inch the imperious matron, taking charge and taking stage, but never over-taking the stage, with every appearance. In his capacity as director, he kept the action moving and the humor sharp and tart, as Oscar Wilde intended it to be. Kudos to the entire cast, but special shout-outs to the four young actors whose antics fueled the play: Santino Fontana (Algernon), David Furr (Jack), Sara Topham (Gwendolyn) and Charlotte Parry (Cecily). And who wouldn't relish the delicious turns by theatre vets Paxton Whitehead as the Rev. Chasuble and Dana Ivey as a befuddled Miss Prism. If this production were a term paper, I'd give it an A+. (Sidebar: be sure to check out either playbill.com or youtube for "Jersey Shore" Gone Wilde. Hilarious!) - at the American Airlines Theatre, New York

December, 2011.  A sterling cast led by the always-reliable Joanna Gleason and the talented Santino Fontana excelled in this wonderful play about family, loss, forgiveness, trust, friendship, passion and pain. Often funny in unexpected ways; often moving when you didn't expect it. Beautifully directed with top-notch production values, this Roundabout offering was an exhilarating afternoon at the theatre. - at the Laura Pels Theatre, New York

March, 2013. Douglas Carter Beane's updated, more modern take didn't always work, but he had the good sense to keep the romance intact and even, in an inspired update, added some romance for one of the stepsisters. Anchoring this timeless tale were the wonderful performances of Laura Osnes as a no-nonsense, intelligent, very non-simpy Cinderella and Santino Fontana as a sweetly befuddled Prince Topher. Both of these actors had charm and charisma to spare and the pipes to make the most of the glorious Rodgers and Hammerstein score. A highpoint: when Price Topher finally told off his Lord Chamberlain and the audience voiced their approval. Hats off to Victoria Clark, Harriet Harris, Ann Harada, Peter Bartlett, Greg Hildreth and Marla Mindelle. Beautiful to look at and beautiful to listen to, this was a most enjoyable way to spend an evening. By the way, loved  the glass slippers! - at the Broadway Theatre, New York

And now our guest stars!

March, 2013. Ridiculously entertaining and deafeningly loud with a jaw-dropping physical production. This show will never make it on anyone's top ten musicals list, but it certainly must rank as the most expensive musical ever. And, just off the top of my head, I can't imagine it ever making its money back. Having said that, this was not  the disaster we were expecting it to be. (Or were lead to believe.)The reason we went, frankly, was to see one of Bob's former students, Emily Shoolin, who, by the way, was excellent in a featured performance. (Loved her as the secretary and the voice of the receptionist!) Robert Cuccioli as the Green Goblin was deliciously over-the-top. There were some tuneful ballads in the score, amazing flying and nice, sweet performances by Reeve Carney and Rebecca Faulkenberry as the web-crossed (sorry!) leads. I was pleasantly surprised. (And we loved our backstage tour. Thanks, Emily!!) - at the Foxwoods Theatre, New York.

March, 2013. Chekhov should be this funny!  When an audience spontaneously responds to something an actor says during a monologue, that says something about both the writing and especially the actor. I won't say anything else, just take my word for it that Kristine Nielsen is, well, incredible. And as if that wasn't enough, shortly thereafter David Hyde Pierce does a tour-de-force that had us weak from laughter. And as if that wasn't enough, Sigourney Weaver wearing a Disney Snow White costume has got to be seen to be believed. Who knew Sigourney Weaver was so adept at comedy? And props to the remaining three members of this extraordinary cast: Billy Magnussen, Shalita Grant and Genevieve Angelson. Spot-on technically, beautifully directed by Nicholas Martin, and skillfully written by Christopher Durang, this was absolutely first-rate. - at the Golden Theatre, New York

Support live theatre wherever you may be. There's nothing like it! Until next time.....