MARCH 2014 NYC
MADNESS
OR…
SIX SHOWS, FOUR
DAYS, ONE SENIOR MTA PASS
The year, as in the past several years, our favorite
benefit performance, Broadway Backwards,
took place in March. Not that we need any
reason whatsoever to make a pilgrimage to the country's theatre capital, but Broadway Backwards is as good an excuse
as any to spend a long weekend in New York and catch some shows.
On this journey, we stayed in a new location for us…the
Lower East Side in a new Holiday Inn on Delancey Street. Now, I've never
wandered to the Lower East Side, though, of course, I'd heard of Delancey
Street. Probably because I've seen "Funny Girl" too many times for
anyone's good, I thought that, like Henry Street, the entire Lower East Side
was quiet and oozing with quaint urban charm. Wrong. Delancey Street is a
charmless, loud, busy NYC street. So much for "Funny Girl." Having
said that, the subway was a scant two blocks from the hotel.
Quick summary: an amazing appearance by a legendary
Broadway performer that was both exhilarating and humbling; a hysterical
theatre-based farce that was a delightful last-minute choice; three tantalizing
performances in Terrance McNally's new gem of a play; a silly piece of musical
fluff that brought lots of smiles to our faces; another last-minute choice that
unexpectedly moved me in a way that I haven't been moved in a very long time; a
much-anticipated performance of the much-lauded revival/replication of one of
our favorite musicals starring its original Tony Award-winning leading actor
that curiously was, well, let me put it this way… it was our least favorite
show of the lot. And last, but certainly not least, Bob got his Senior
Reduced-Fare MTA transit card! What I thought (feared?) would be a long and
complicated process took around fifteen minutes or so. Do not underestimate how
very cool this is, ladies and gentlemen. One of the perks of getting older!
In order of appearance, so to speak….
The glorious show curtain that greeted us as we entered the St. James.
March, 2014. When the delicious Marin Mazzie utters those
immortal words, "don't speak," you don't because you're laughing too
hard. As the vain, egotistical Helen Sinclair, Mazzie chews the scenery with
gleeful abandon. And that's pretty much how things go for most of the evening
in this bright, funny and lavish musical version of Woody Allen's popular film.
And then comes the finale and instead of coming to the wow conclusion the show
deserved, it ended on a well-executed and enthusiastic, yet flat note. The show
is in previews, so hopefully that will change. In addition to Mazzie, big props
go to leading man Zach Braff, a wonderfully dry and funny Nick Cordero as a
murderous gangster with the soul of a playwright, a sinfully underutilized
Karen Ziemba and the hysterical Heléne Yorke as Olive, whose "The Hot Dog
Song" was a naughty delight. A lush orchestra, brilliant sets, amazing
costumes, and, of course, toe-tapping Susan Stroman choreography added to the
fun. (Stroman pulled out all the stops and while incredibly enjoyable, it wasn't
always very original with more than a few references to other Stroman shows,
especially The Producers.) A great
way to start our NYC weekend. (5/2014 update: Apparently Bob and I and the
capacity audience at the St. James had a much better time than the critics did
when the show opened. Mixed reviews and not the huzzahs I expected for Mazzie
and Yorke. Ah, well.) - at the St. James Theatre, New York
March, 2014. Let me state this right off the bat: I
rarely get misty-eyed or weepy at the theater, but the last scene in The Bridges of Madison County almost had
me in full-blown sobs. Gentle, elegant, blessed with one of the finest scores
in years, thank you, Jason Robert Brown, and fortunate enough to have two
outstanding actors, Kelli O'Hara and Steven Pasquale, as its leads, this
unexpected treat for the eyes, ears and soul transported its audience with
truth and beauty. We both fell in love with it. I can't wait to see it again. (5/2014
update: As I write this, I'm very saddened to have to type that this glorious,
wonderful, heartfelt show will be closing on May 18. Despite favorable reviews,
it just couldn't compete against the bigger, spashier shows and, since it was
egregiously overlooked by the Tony Award nominating committee and thus couldn't
get the box-office boost nominations typically bring, this gem of show posted
its closing notice. I'm both angered and sad. This is truly a loss for
Broadway, but I know that Bridges will
thrive at discerning regional theatres in the near future.) -at the Gerald
Schoenfeld Theatre, New York
March, 2014. What was a revelation at the Donmar
Warehouse in London in 1993 and then in New York in 1998 now seems a bit tired.
Bringing absolutely nothing new to the proceedings, this was a slavish replica
of the original Roundabout production. Alan Cumming wasn't exactly phoning it
in, but he wasn't exactly fresh either. Michelle Williams, in her Broadway
debut, however, was a fine Sally and delivered a masterful interpretation of
the title song. Linda Emond and Danny Burstein brought expected professionalism
to their roles as Frl. Schneider and Herr Schultz and gave the show the
humanity it generally lacked. It was all professionally done, but very, very slick and lacked any
true excitement. And let's not even talk about the horror that was "It
Couldn't Please Me More" that I must have mercifully blocked from my
memory of other viewings of the show at Studio 54. I wasn't terribly impressed.
Full disclosure…the capacity audience screamed at everything Alan Cumming did
and seemed to have a "perfectly marvelous" time. Obviously, Bob and I
were in the minority. Ah, well. - at Studio 54, New York
March, 2014. Last preview before opening the following
night. This wonderful mix of humor, substance and heart ranks among Terrence
McNally's finest works in my opinion. Frederick Weller's character's story was,
in many respects, mine, so sometimes the action in the play was a bit hard
emotionally for me. Stunning set by the always superb John Lee Beatty.
Exceptional performances by Mr. Weller, Bobby Steggert and an adorable, very
young Grayson Taylor. And anchoring it all was the indomitable Tyne
Daly...fierce, funny and ultimately heartbreaking. There is a reason why I will
see her in anything. This show should be consistently selling out at the box office, yet it has struggled since it began previews, giving one reason to be concerned about the viability of serious drama in today's commercial environment. - at the John Golden Theatre, New York
March, 2014. I predict lots of residual income for Sarah
Ruhl as savvy regional theaters add the delightful Stage Kiss to their seasons. A romance of quirky sorts, it's very, very
funny, yet also has a warm heart to it. Ruhl skewers some sacred theatrical
cows in this smart, sassy romp to great effect. Tight direction, exceptional
production values that belie the relatively modest size of the venue, and a superb ensemble lead by Jessica Hecht and
Dominic Fumusa (Edie Falco's ex-husband on "Nurse Jackie"). Great
comedy and lots of fun. This is a play I'd love to see Bob direct.- at
Playwrights Horizons, New York
March,
2014. OH. MY. GOD. The original Kate of Kiss
Me Kate, Patricia Morison. 99 years old, looking fabulous and glamorous,
sang all of "Brush Up Your Shakespeare" with style, great
humor, and in great voice. And I got to see it! Thrilling, emotional and truly
humbling as the entire capacity-audience jumped to their feet and paid loud and
ecstatic homage to the talent and class of this remarkable woman. I am one
lucky man. But, wait, there was more. Lots more. Some highlights: Julie White
as a simply divine hostess, Andrew Rannells exciting "The Man That Got
Away," Norm Lewis' "Home," Uza Aduba and Rachel Bay Jones'
"In Lily's Eyes," Roger Rees scathing "Could I Leave You?,"
Billy Porter nailing "And the World Goes Round" and the excitement of
seeing Michael Berresse and Tony Yazbek recreate the Bob Fosse/Ann Reinking
choreography in "Nowadays/Hot Honey Rag" from Chicago. The was our 7th year attending this amazing event. It's
always been a theatrical highlight of the year and this year certainly was no
exception. Pure, unadulterated pleasure! - at the Hirschfeld Theatre, New York
That's it for today. Can spring finally be here??
© 2014 Jeffrey Geddes
