SUMMER SNAPSHOTS: NYC, WASHINGTON, MINNEAPOLIS, STORRS (WHERE?) AND CHICAGO - Summer, 2014 - Part 2

SUMMER SNAPSHOTS: NYC, WASHINGTON, MINNEAPOLIS, STORRS (WHERE?) AND CHICAGO - Summer, 2014 - Part 2

THIS IS PART 2 of what we did during our summer vacation!  Two classic musicals in much-heralded regional productions, one far more successful than the other, some tryout action, a bit of summer stock, a historic Tony winning performance, one of the most terrible times I've had in nearly fifty years of going to the theatre and some really first rate playwriting. A very good summer, indeed. 

BRIGADOON - GoodmanTheatre, Chicago

July, 2014. Brigadoon, the beloved classic from the early days of the Golden Age of Musicals, was, sadly, not done any favors in the lackluster, sloppy production at the Goodman.To its credit, the magnificent score was beautifully sung by a vocally talented cast and played by an excellent pit orchestra, but, other than that, there was no magic to be found in those highlands. The leads had zero chemistry; I was wondering if they even liked each other. Flavor-of-the-month Rachel Rockwell's direction was pedestrian and tired. Inspired by Agnes de MIlle's original choreography, the dances were better, but relatively bland at best and not crisp and precise at worst. The cast was too small by about one-half dozen and as a result, the group scenes looked anemic and underpopulated, especially during "Down in MacConnachy Square" and "Entrance of the Clans." (A clan of two? Well, okay then!) The acting had no color and everyone was the same shade of boring gray. The only thing all this reimagining and refreshing did was fuck up a perfectly good, if at times clunky, show and pretty much bore the crap out of me. I love Brigadoon and really, really wanted it to be wonderful. Sadly, it was just another Goodman show...big on hype, big on attitude and small on results. 

SEUSSICAL - Chicago Shakespeare Theatre, Chicago

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July, 2014. Absolutely delightful. Full production values, a sparkling band and terrific performances made Esme's first theatre outing a rousing success. The show is a bit too old for a four-year-old and by jettisoning most of the book, there were odd plot bumps that, frankly, made no sense and characters that were there for no apparent reason. But then there is that fabulous Flaherty/Ahrens score! Don't have a kid? Go anyhow. 

GYPSY - Connecticut Repertory Theatre (Harriet Jorgenson Theatre), Storrs, CT

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July, 2014. Michael James Leslie must have one helluva agent to get that kind of billing for that small of a role. He did a fine job, mind you, but still. The staging needed polishing and tightening, the costumes and hair were ghastly and the sets varied between good and we-ran-out-of-time, but the lighting was excellent, the small orchestra crisp, and the cast generally up to their tasks. (The strippers were far, FAR too young and had the misfortune to wear the show's worst costumes, but were energetic and exceedingly funny and delivered these wonderful parts with great glee.) As Rose, Leslie Uggams sang the crap out of the iconic score and delivered a strong, vibrant performance that would have been improved with stronger direction and some more rehearsal. (Bob wanted to spend some one-on-one time with her.) Ms. Uggams can do more with her eyes than many actors can do with a much-rehearsed monologue… warm and loving one second, fierce and scary the next. Her "Rose's Turn" was just plain fabulous. The theatre was very small and from our second row seats, we got Madame Rose and pals up close and personal. Glad we saw it. Gypsy currently reigns as #3 in my top ten musicals, so more will be said about the show itself in a later post.

MY FAIR LADY - Wurtele Thrust Stage, Guthrie Theatre, Minneapolis

Great to see one of my favorites from my early days of theatre-going in another role after 42 years!

July, 2014 Higgins enters the study after "I've Grown Accustomed, etc." and turns on the gramophone. Eliza's voice is heard. Eliza enters in a special and, inexplicitly, IN HER BALL GOWN, utters the famous penultimate lines while looking straight ahead and never EVER reacts to Higgins. Higgins says the final line, the music soars, Eliza remains unmoving in her ball gown and in her special and the show ends. WHAT??!! I won't even go into the train wreck that was the staging for "On the Street Where You Live," though it was impeccably sung. These missteps marred an otherwise solid production starring three top-notch leads (Jeff McCarthy, Tony Sheldon and an refreshingly feisty Helen Anker), a talented supporting cast (special nod to Donald Corren's terrific Doolittle, and I normally detest everything about that role) and a super orchestra that played the iconic score with a bracing crispness. This was not as elegantly designed as other Guthrie shows and a bit under-populated in the big full-cast scenes. The highlight for me was to see, for the first time in 42 years, the wonderful Melissa Hart, as Mrs Higgins, once again on stage. 

And though it pains me, here's the horrid experience mentioned at the top of this post….

MOTOWN: THE MUSICAL - Oriental Theatre, Chicago

July, 2014. Excessively inappropriate theatre behavior, an ineffective and un-empowered house staff to rectify the situation (shame, shame Broadway in Chicago), and a paid usher who flatly refused to help paying patrons (again, shame, shame Broadway in Chicago) caused us to leave moments after the second act began. What prompted us to leave angered and appalled me, but, truthfully, I wasn't all that upset at leaving the show. The lighting totally rocked and the singing/dancing was great, but the volume was at an ear-piercing volume encouraging folks in the audience to chat away at full volume as though sitting in their living rooms throughout the entire first act, the constant use of medleys instead of singing the full songs was both frustrating and annoying (really…I want the entire "Stop! In the Name of Love," not just a verse), sensationally bad writing for the ineffective book scenes made the stretches between medleys seem endless and the dull, listless acting was, well, dull and listless. I suspect the performers were chosen more for their singing and dancing abilities, which were very impressive, rather than for their acting chops or lack thereof. It was obvious money was liberally spent on this Equity national tour and I'm sure it will make pot loads of money on the road. I wish them well. I just plain pretty much hated it…or at least Act One.

And that's how we spent our  "summer vacation." Hope you all had a grand one! Until next time!

© 2014 Jeffrey Geddes