"P" SOUP: A WHOLLY-OWNED SUBSIDIARY OF ALPHABET SOUP

"P" SOUP

A WHOLLY-OWNED SUBSIDIARY OF ALPHABET SOUP

A musical behemoth and its more modest half-sibling. A Gershwin masterpiece "reimagined" for its latest Broadway outing. A slight, but happily entertaining musical with one of the best opening numbers ever. An over-produced musical version of a terrific Australian film. It's all musicals today. So get comfy and let's begin.

THE PHANTOM OF THE OPERA

 – Forrest Theatre, Philadelphia

July, 1995. This is from the Variety review dated January, 26, 1988: "The Phantom Of The Opera is romantic musical theater hokum in the grand manner …and it justifies the feverish buildup that has given it a $16,500,000 advance. It’s good for a Broadway run of several years." (underlining mine) Several years, indeed. It may no longer be selling out with regularity, but, in October, 2016, as I type this, it's still running at the Majestic Theatre and has amassed over 12,000 performances. It is hands-down the longest-running musical in Broadway history and will likely remain so for a very long time to come, if not forever. The original London production recently celebrated its 30th anniversary at its original home, the Her Majesty's Theatre. It has spawned numerous touring companies in the United States and Canada (all Equity, thank you very much!), international companies around the world (it was especially popular in Germany), and an unpopular film version. Hugely popular. Irresistible plot. Buckets of money for all involved. And, frankly, a bit of a snooze. Don't get me wrong. As presented at Philadelphia's historic and beautiful Forrest Theatre, the Second National Company was a first-rate production all the way, from the sumptuous Maria Björnson and Andrew Bridge design, to Gillian Lynne's spot-on musical staging and choreography, to seamless direction by the legendary Harold Prince, to the lush singing and professional acting by the company, starring Rick Hilsabeck (the Phantom), Sarah Pfisterer (Christine), and a very young and handsome Jason Danieley (Raoul). For whatever reason, however, the show just didn't grab me. It was all a bit too melodramatic and over-the-top. Oh, Andrew Lloyd Webber's tunes are tasty enough, but everything lacked a depth. Not the actors fault. Not the director's fault. Cliché as it may be, I put the blame squarely on the book by Richard Stilgoe and Lloyd Webber. It went for the obvious and despite everyone's best efforts, I didn't give a crap about any of the characters. And to top it all, the much-publicized chandelier-crashing-to-the-stage effect? In Philadelphia, the chandelier lurched its way to the stage where it landed with a thud rather than a crash. All very anticlimactic. The evening was enjoyable enough, but I'm at a loss to explain its runaway popularity. - at the Forrest Theatre, Philadelphia

Tidbits: The Forrest Theatre was a popular stop for musicals to tryout on their way to New York. The theatre's designer, Herbert J. Krapp, in a moment of brain fartdom, forgot to put dressing rooms in his design for the theatre. As a result, the dressing rooms are in the building across the alley, connected to the Forrest via an underground tunnel. Possibly its most infamous tenant was the tryout of the doomed Breakfast at Tiffany's. Tony Award-winning actor David Burns died of a massive heart attack onstage at the Forrest following his big number in Kander and Ebb's 70, Girls, 70 during the show's tryout there. Sarah Brightman, then Lloyd Webber's wife, was originally prohibited by Actors' Equity Association from recreating her role as Christine. Shouting matches and threats abounded, but it all worked out in the end, and she opened to modest reviews, most praising her voice and dismissing her acting. Original Phantom Michael Crawford won the Best Actor in a Musical Tony for being onstage for approximately twenty minutes or so. The Phantom of the Opera won seven Tonys at the 1988 ceremony, besting, shockingly, Into the Woods for Best Musical. (Into the Woods, however, would win the trophies for book and score.) And, finally, the Third National Company closed in Los Angeles in 2010 after nearly 18 years on the road. Now that's mighty impressive by any standards!

– Phantom Theatre, The Venetian Resort-Hotel-Casino, Las Vegas

Just "Phantom" on the cover.

'

Now it's "The Phantom of the Opera." Sorry for the blurriness. I tried to sharpen it up to no avail. Sigh.

Now it's "Phantom: The Las Vegas Spectacular."

I'm not sure why I have so many programs from this version.

What is in a name? Back to its legal name.

Yet another program. Is the show's name "Paris"? Huh?

February, 2008. This was marketed as Phantom – the Las Vegas Spectacular, but on the program's credit page, it's called, rightly so, The Phantom of the Opera. Trimmed down to a fast, intermissionless, 95 minutes, this was spectacular indeed. Produced in a theatre especially built for this production, it had more bells and whistles than you could count. And that famed chandelier really lived up to its rep in this version. What little subtlety was in the full-length version was jettisoned in favor of short scenes that set up the "big hit tunes." Backstory? Nope. Not gonna happen, but that's okay. You figure it out. The glorious design elements of the New York original were adapted for this theatre which was designed to make you feel as though you were actually in the Paris Opera House. Hal Prince (director) and Gillian Lynne (musical stager/choreographer) were on hand to make sure the production was on solid ground. It was well-sung and professionally acted, but at the end of the day, it was still The Phantom of the Opera. Enjoyable, yes. Memorable, not especially. – at the Phantom Theatre, Las Vegas

Sidebar: The streamlining of a 2 ½ + hour Broadway musical into a brisker 1 ½ hours is not new in Las Vegas, where audience attention spans aren't geared towards theatre. In the old days, these used to be called tabloid versions. It wasn't by any means a reflection of the quality since production values often mirrored the original and box-office stars were usually in attendance. Instead, it implied that the show's running time had been greatly shortened. This version was a huge success and played for over six years. When we saw it relatively early in its run, it was still featuring alternating Phantoms, Brent Barrett and Tony-winning Anthony Crivello. I can't find anything in my program, insert or otherwise, that tells me which talented gentleman was in the role the night we saw it, and I didn't write it down, duh!, but I'm pretty sure it was Mr. Crivello. We had our seats changed shortly after the performance began since the non-English-speaking folks behind us decided the theatre was a perfect place to eat their dinner and chat loudly while chomping down on their sandwiches. Apparently, basic theatre etiquette is not terribly familiar in Las Vegas. House management were truly customer focused, moved us to premium seats, and offered us comp tickets to a future performance. When this opened in 2006, Las Vegas was being promoted as Broadway West. It didn't happen. Ironically, in 2017, the re-tooled "new" The Phantom of the Opera will return in its full-length glory to Las Vegas' Smith Center. Guess Sin City just can't get enough of that masked man!

PHANTOM – Stage 773, Chicago

PHANTOM – Stage 773, Chicago

October, 2007. Living in the shadow of its flashier and more famous half-sibling (they share the same father, Gaston Leroux) is Arthur Kopit and Maury Yeston's Phantom. Quieter and more compelling than  the overblown Lloyd Webber creation, this version's focus is more character-driven and less on pretty, string-heavy warblings and theatrical special effects. Overall, this is a more satisfying version of the classic tale. Christine isn't portrayed, as she is in the Lloyd Webber version, as a simpering, somewhat vacuous woman. Here the Phantom actually has a name (Erik) and a real backstory. The scene between father and son late in Act Two is so good and so touching, it alone makes the show worth seeing. Porchlight Theatre's Phantom was beautifully sung and competently acted, but not always successful in the design and directorial departments. The chandelier was especially cheesy, and the set, while ambitious, didn't always work. Director L. Walter Stearns obviously cast his actors for their singing abilities more than their acting ones, and though no one was terrible, there were a few that just didn't rise to the occasion. Naomi Landman's Carlotta, for example, failed to mine all the delicious, legitimate scenery-chewing options the part offered, and her "This Place Is Mine," didn't quite land where it should have. Peter Oyloe as the Phantom (Erik), Lara Filip as Christine, and Jim Sherman as Carriere (Erik's father) all imbued the show with an unwavering professionalism and class. The overall scope of the show wasn't an especially good match for Porchlight's limited resources. It wasn't a perfect production, but, I'm so glad I saw it. – at Stage 773, Chicago

Sidebar: Phantom has had over 1000 productions, but has never been produced on Broadway, and, wisely, probably never will be. Maury Yeston has been quoted as saying that Phantom is "the greatest hit never to be produced on Broadway." It had its world premiere in 1991 in Houston. Robert Cuccioli (Jekyll and Hyde) and Kristin Chenoweth have played the roles of the Phantom and Christine in regional productions of the show. Curiously, Phantom received a lukewarm welcome by the Chicago critics, at least those that matter. (This was before Porchlight Theatre became an unassailable critics' darling.) Most of the criticism centered around the staging and the set.

PORGY AND BESS – Richard Rodgers Theatre, New York

The two major revivals and rivals next door to each other on 46th Street. 

January, 2012. Billed as The Gershwins' Porgy and Bess, as opposed to, what?, Jerry Herman's Porgy and Bess?, this was a streamlined and greatly shortened version of the Gershwins' iconic folk opera about life in Catfish Row, Charleston, South Carolina, in the 1930s. Director Diane Paulus and her collaborators famously said prior to its first performances in Cambridge that they were "excavating and shaping and modernizing the story," which are just fancy terms for the dreaded "reimagining." Normally, that is anathema to me, but I had no idea what the original was like, and frankly, I didn't care. The story onstage at the Rodgers was told cleanly and honestly. The songs were beautifully sung. The acting was strong. David Alan Grier was a slimy, detestable Sporting Life and surprised me with his strong vocal abilities. Phillip Boykin was a mesmerizing villain. Joshua Henry and Nikki Renée Daniels  were a solid Jake and Clara. (To show my Porgy and Bess ignorance, I had no idea that Clara sings "Summertime," and not Bess.) The curtain was very late at this performance and a last-minute announcement gave us the news that Norm Lewis had taken ill backstage and his cover, Nathanial Stampley, would be going on. We were told at the interval that this was Stampley's first time in the role. First time or not, he was wonderful, and was loudly cheered at his solo bow. And what can I possibly say about Audra McDonald except divine! She took the part of Bess and sent it into the stratosphere. Here's the deal, though. If Ms. McDonald wanted to sit in a chair and perform the phone book, that would be just dandy with me. It's so much more rewarding, however, when she's onstage in a challenging role. Mixed reviews greeted this production. The critics who loved the show praised this more economical version. The critics who didn't found the new changes detrimental to the intentions of the authors. But everyone agreed on one thing: Audra McDonald's Bess. – at the Richard Rodgers Theatre, New York

Sidebar: Stephen Sondheim created somewhat of a shitstorm when he wrote a letter to the New York Times in response to an article about the changes director Diane Paulus and her collaborators were making to Porgy and Bess, which had not yet begun its run at A.R.T. in Cambridge. He ended his letter by stating it wasn't his intention to pre-judge the show, but rather to point out what he felt was the arrogant attitude of Paulus, et. al. This was not a wise thing to do. You see, Paulus had brought a wildly-successful, Tony-winning revival of Hair to Broadway a couple of years earlier. She was/is the artistic director of the respected American Repertory Theater in Cambridge, Massachusetts. For many, Sondheim remarks were those of a pompous bully and despite any validity of his comments, it all came to bite him in the ass when the 2012 Tony Awards were handed out. You see, his Follies, in a stunning revival, opened in the same season as Porgy and Bess, and though nominated for 8 Tonys, it only won one (for Costume Design), and lost the important Best Revival of a Musical to, you guessed it, The Gershwins' Porgy and Bess, to use its new, convoluted moniker. Memo to Mr. Sondheim: "Steve, darling, don't publically diss your competition if you want to win some swag. Love, Jeff." 

PURLIE – McVickers Theatre, Chicago

September, 1972. "Walk Him Up the Stairs," Purlie's opening number, is one of the most exciting opening numbers in musical theatre. It ranks among my top five opening numbers, the others being the opening segments of Ragtime, Titanic, Cabaret (original, 1966), and Cabaret (Roundabout, 1998). For those first eight minutes or so, the venerable McVickers Theatre was turned into a joyous, gospel tabernacle that had the McVickers' Saturday night audience swaying, leaping to their feet and "amen"-ing, and bringing the entire opening moments to a close with thunderous, rapturous applause. Based on Ossie Davis' play Purlie Victorious, the musical adheres closely to the play's plot of a charismatic preacher's quest to buy Big Bethel, the country church in his hometown in segregation-era Georgia, and free his friends and neighbors, tenant farmers on a cotton plantation, from the clutches of Ol' Cap'n, the dyed-in-the-wool bigot who owns the plantation. Oh, and while he's at it, woo the girl of his dreams. It's all quite silly and all quite funny, yet there are also messages of equal rights and social justice. The characters are painted in broad strokes, more caricatures than actual characters, but Mr. Davis knew the subversive ability of comedy to make important social issues palatable to the general public, and these characters, even the Simon Legree of Ol' Cap'n, never get too deep or too evil. Broadway original cast members Sherman Hemsley (pre-The Jeffersons) and Helen Martin along with Broadway replacements Robert Guillaume (pre-Benson), Patti Jo, and Carol Jean Lewis (Laura Cooper at the performance I attended) headed the tour. While the performance never reached the ecstatic peak of the opening, it was very well-acted and terrifically-sung, with a book, co-authored by Ossie Davis, director Philip Rose, and lyricist Peter Udell, that was surprisingly strong, and a toe-tapping score by Gary Geld (music) and the aforementioned Peter Udell (lyrics) that had elements of gospel, jazz, blues, R&B, top 40 pop, and good old-fashioned Broadway theatre music, including "Purlie," "Big Fish, Little Fish," the hit "I Got Love," and my two favorites, "Down Home" and "He Can Do It." 1972 was a different time. Not necessarily gentler or more innocent, just different. Would Purlie's carefree desire to entertain, broad characters, and not-very-subtle dialogue seem out-of-place in 2016? Would a show written primarily by white folks, Davis being the exception, about black folks during the days of Jim Crow laws be both dismissed and ridiculed in our era of excruciating theatrical correctness? Purlie is a thoroughly entertaining, solid show, but I suspect it is languishing in Samuel French's catalog of musicals. – at the McVickers Theatre, Chicago

Sidebar: I saw Purlie in its second-to-last week of a three-month engagement. It would be one of the last, if not the last, stage show produced at the McVickers. (I wish I could verify this, but no luck on the Internet.) Even though Ossie Davis is credited as a co-author of Purlie, he did not actively participate in the musical, but because much of the dialogue was lifted directly from Purlie Victorious, it was felt he should be acknowledged as one of the book's writers. Both Robert Guillaume and Sherman Hemsley would have hugely successful careers on television. Purlie was Patti Jo's only Broadway appearance. She had a modestly successful career as a recording artist, was apparently very popular on the south Florida cabaret/nightclub circuit, and, sadly, died in 2007 at the young age of 60.  At the 1970 Tony Awards, Purlie was nominated for Best Musical along with Applause, that year's big winner, and Hepburn!, wait, I mean Coco. It would win two Tonys for acting.

PRISCILLA QUEEN OF THE DESERT – Palace Theatre, New York

Listed first among Priscilla's many producers is Bette Midler and she was a tireless promoter of the show during its run.

At London's Palace Theatre, Priscilla's marquee kicks marquee butt!

April, 2011. The Australian film, The Adventures of Priscilla, Queen of the Desert, is about two drag queens and a transgender woman, all a bit down-market performers, who are contracted to do a drag show in Alice Springs, and their adventures as they travel from Sydney to the Outback in their bus, Priscilla. It's a charming, funny, and touching film that ranks among my favorites and is one of the few movies I own. As done in New York, however, it was almost completely charmless, over-produced, over-amplified, under-enunciated, and surprisingly sloppy in more than one spot despite the valiant efforts of its three superior leading men who tried to add heart and characterization to this largely paint-by-the numbers, mechanical endeavor.  The chemistry between the three men was obvious, and that showed in the book scenes.  Come to think of it, the only parts of the show I liked were the book scenes. Hats off, therefore, to Tony Sheldon, Will Swenson, and Nick Adams. You deserved better!  Priscilla desperately needed an original score. The lack of one resulted in an absence of musical depth and didn't allow the players to grow their characters through song. The ladies in the cast did what they could with what little they had to work with. I suspect I may be in the minority here. The straight people around us were in rapture..."Those gay boys are SOOOOO much fun!!!" For me, however, it was a major disappointment. – at the Palace Theatre, New York

Sidebar: Priscilla originated in Australia and, on its way to New York, stopped off in New Zealand, London, and Toronto. With a performance run of 23 previews and a respectable 526 performances, it did not recoup its $15 million production costs. Like its fellow Australian import, The Boy from Oz, Priscilla tried to shoehorn its story to fit the pre-existing songs the show was using. In Oz it worked better, but only just. The Boy from Oz, however, made its money back even with a shorter run, and that was due to the presence of its charismatic leading man, Hugh Jackman. Even with its trio of fine leading performances, Priscilla never created the box office excitement that Oz had. I think I'll stick to the movie.

In fact, I think I'll watch the film now. Until next time….see some theatre!

© 2016 Jeffrey Geddes

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS – Part 10: THE TOP TEN – #9

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS – Part 10

THE TOP TEN – #9

And the countdown to my favorite musical continues. Holding the ninth spot is a remarkable show that will stay with you long after the lights come up in the theatre. 

# 9: NEXT TO NORMAL  – Book and Lyrics by Brian Yorkey, Music by Tom Kitt

Surprisingly, the 2010 Pulitizer winner did not win the Tony Award for Best Musical when it was nominated in 2009. That honor went to the flashier Billy Elliot. Please understand, I love Billy Elliot. It's solidly in my Musical Honor Roll. It's a terrific, heartwarming show. But, Next to Normal is, simply, a better show…meatier, more thought-provoking, more gut-wrenchingly emotional, and the award should have gone to it. With its central themes of mental illness, life-crushing loss, and inability to move forward, Next to Normal is truly unlike any musical before or since. You think, you laugh, you cry. You become involved with the six characters on stage, and you leave the theatre a changed person, for these characters have touched the very core of your being. With dialogue and music flowing seamlessly from one to the other and back again, it's tough to pick favorite moments, but among them would have to be the gentle "Perfect for You," the plaintive "I Miss the Mountains," the touching "Maybe (Next to Normal)," and the cautiously hopeful "Light," the finale of the show, and I defy you to be dry-eyed when the song and show ends. Even I, a confirmed curmudgeon, was wiping away moisture from the eyes. My mother suffered from mental illness and went through ECT, aka shock treatment, which was a go-to therapy back in the 50s/60s. As a child, I remember psych ward hospital stays, the removal of locks from all the interior doors in the house, pills, pills, and more pills. My dad and grandparents pretty much shielded us from the particulars; we just knew that Mom wasn't feeling well. Thankfully, advances in the treatment of mental illness had a postive effect on my mother, but until the day she died, she had a stockpile of pills. So, trust me, this show had and continues to have, a profound effect on me.

"We tried to give you a normal life
I realize now I have no clue what that is
I don't need a life that's normal, that's way too far away
But something next to normal would be okay

Yeah, something next to normal
That's the thing I'd like to try
Close enough to normal to get by
We'll get by, we'll get by"

- from "Maybe (Next to Normal)"

June, 2009; February, 2010. Our first unforgettable experience with Next to Normal  was two weeks after it won 2009 Tony Awards for Best Score, Best Orchestrations (tie) and Best Performance by a Leading Actress in a Musical. We really didn't know quite what to expect, but by the time the final curtain fell, both Bob and I knew we had experienced something very, very special. Maybe it was the stunning scenic and lighting designs by Mark Wendland (scenic) and Kevin Adams (lighting). Maybe it was the sensitive direction of Michael Greif, which somehow managed to be innovative, yet comforting and traditional at the same time. Maybe it was the book and score by Brian Yorkey and Tom Kitt, dynamic and enveloping. Or perhaps it was the pièce de résistance of the brilliant ensemble cast led by a jaw-dropping performance by Alice Ripley as Diana, in her Tony Award-winning role, and Tony-winning original Jersey Boy J. Robert Spencer as her husband, Dan, whose unconditional love and devotion were heartbreaking . The true beauty of this show, however, is that even though Diana and Dan are the central characters, it's the supporting characters that round everything out and give the musical an added layer of emotional depth and humanity not often found in musicals. Kudos, therefore, go to a defiant and searching Jennifer Damiano as Natalie, a gentle and tender Adam Chanler-Berat as Henry, a sexy and seductive Kyle Dean Massey as Gabe, and a wry, supportive Louis Hobson as Dr. Fine and "rock star" Dr. Madden. At the intimate Booth Theatre, this was…magnificent. – at the Booth Theatre, New York

Sidebar: At the February, 2010, performance, we had the pleasure of seeing Michael Berry play the part of Dan. Excellent job.

Next to Normal: the final cast.

January, 2011. Closing day, the penultimate performance. In a stroke of casting genius, the producers of Next to Normal cast husband-and-wife Jason Danieley and Marin Mazzie to lead the replacement cast of this groundbreaking show. Bob and I are huge fans of the Danieleys and the opportunity to see them together in a show we love, well, it was theatrical catnip! The preferred final performance on Sunday evening was sold-out, so we snagged two of the few remaining seats for the Sunday matinee. To say this performance took our breath away would be a disservice to the cast and a gross understatement. Because of their marital status, Mazzie's and Danieley's performances were imbued with a bond of love, a willingness to just trust the other person, a kind of shorthand that people in a successful long-term marriage or relationship inherently have. Ripley's Diana was both frenetic and chaotic and her fellow actors' performances complimented that performance. In Ripley's performance, you could see Diana's brain firing from one cylinder to the next. Director Michael Greif, however, was, and is, no fool. Realizing that Mazzie and Danieley's unique skill sets could bring another dimension to Next to Normal, he had the good sense to allow them to make Diana and Dan their own, not beholden to originators Ripley and Spencer. The result was a quieter show, but no less powerful. Don't let Mazzie's outward calm fool you. The anger, the confusion, the fear, and, yes, the joy were all there and when she let them out, the theatre exploded. Danieley's Dan was also more controlled, more tightly-wound. Like Mazzie, you could sense his emotions, his overwhelming fatigue seething just beneath the surface. Mazzie and Danieley are both better singers than their predecessors and as a result, the score took on an added dimension. Meghann Fahy was now playing Natalie. Adam Chanler-Berat, Louis Hobson, and Kyle Dean Massey were still on board to provide sterling support. Like the Christopher Sieber/Harvey Fierstein La Cage aux Folles, I preferred the replacement cast of Next to Normal to the original. In the case of La Cage, having gay men play gay men gave the show a certain je ne sais quoi, a verisimilitude that was not and could not be present in the wonderful performances of its original stars, Kelsey Grammer and Douglas Hodge. In Next to Normal, having a married couple play a married couple gave the show an indescribable something extra. The sniffling and open sobs were in abundance by the final blackout and the cast's curtain call was greeted with a standing ovation, no make that a leaping-up-to-your-feet ovation and cheers that rocked the theatre. An unforgettable afternoon. – at the Booth Theatre, New York

January, 2012. It was no surprise that Milwaukee Rep's production of Next to Normal would be good. What was perhaps surprising, even though it really shouldn't have been, was just how powerful the musical was in a different staging, in a different production environment, and with a talented cast providing their own unique takes on the memorable characters created by Brian Yorkey and Tom Kitt. Tightly directed by the Rep's artistic director, Mark Clements, this version had its own pace and rhythms, and guess what?, it all worked. Cheers for the remarkable cast: Tim Young (Gabe), Laurie Veldheer (Natalie), Danny Henning (Henry), Tony-winner Jarrod Emick (Dr. Fine/Dr. Madden), and especially Kevin Vortmann (Dan) and Sarah Litzsinger (Diana). Rock-solid production from the reliable Milwaukee Rep. – at the Quadracci Powerhouse Theater, Milwaukee

Final footnote: Even with a Pulitzer and Tony Awards, Brian Yorkey and Tom Kitt's next production, also with Michael Greif at the helm, the underwhelming If/Then, received critical indifference and struggled for most of its run, even with the box-office pull of star Idina Menzel and a supporting cast of Broadway favorites. The sophomore slump strikes even the best of them!

And on that note… Until next time.

© 2016 Jeffrey Geddes

AN EARLY FALL WEEKEND IN NEW YORK - October, 2014

AN EARLY FALL WEEKEND IN NEW YORK - October, 2014

Six shows; four days. Two musicals from the Golden Age of Musicals, a Kaufman and Hart classic lovingly revived, a revised and totally hysterical production of a 1985 Terrence McNally play, a star-studded remount of one of Edward Albee's most highly regarded plays and a thoughtful and very funny work by an exciting new(ish) talent. Quite a weekend! Here's the scoop.

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YOU CAN'T TAKE IT WITH YOU - Longacre Theatre, New York - October, 2014

  

Way, way up in the second balcony of the Longacre. I'm getting far too old to schlep up that many stairs! Great view and could hear every syllable.

Taken just before going in.

Next day...daytime shot. I like the logo better than Bob does.

  

An artistic director for a theatre company in the suburbs thinks of You Can't Take It with You as a high school play. Seriously? Well, then, I suggest seeing what's onstage at the Longacre to dispel that misguided opinion. Sumptuous to look at and acted with humor and affection by an A-list cast, this was a delightful revival of a theatre classic that magically transported the capacity audience back to a gentler, simpler time when everything could be solved with humor and good common, if sometimes eccentric, sense. I'm convinced that James Earl Jones could read the proverbial phone book and we would all be thrilled. His quiet, commanding presence gave a gentle gravitas to the role of patriarch Martin Vanderhof. Kristine Nielsen was a delightfully flaky Penny and, seriously, folks, would you have thought from her role in Damages that Rose Bryne could play comedy with such skill? And seeing Elizabeth Ashley onstage once again was a special treat. (Ashley was the original Corie in Barefoot in the Park back in 1963 and made her Broadway debut in 1959!) Filling in for Annaleigh Ashford in the role of ballerina-wannabe Essie was Barrett Doss and, as we've always experienced with New York understudies, she was excellent. She's also the understudy for Alice and Rheba. Three distinct roles with completely different energies all covered by the same actress. Think about it. In other words, this lass is very talented. A directorial choice by Scott Ellis to have actor Will Brill play Ed very gay was odd, unnecessary and out of step with the rest of the show in general and his otherwise spot-on direction in particular. Kudos to all, but special mention must go to the inimitable Julie Halston as Gay Wellington, whose drunken crawl up the stairs with unabashed scenery-chewing abandon was three minutes of non-stop hilarity. - at the Longacre Theatre, New York.

CAN-CAN - Paper Mill Playhouse, Millburn, NJ - October, 2014

On the way to the theatre...downtown Millburn, NJ 

 Bobby in front of the theatre.

 Gorgeous show curtain.

The Abe Burrows script, even with the new rewrite, wheezes and lurches along a bit, but that's all right because you have a terrific Cole Porter score, sensational show-stopping choreography, a splendid physical production and a talented cast that featured some star power from the dashing Jason Danieley and the golden-throated Kate Baldwin. Greg Hildreth as the sculptor in love with Claudine impressed yet again with his spot-on comic timing and his all-around likeability. Michael Berresse as Jussac was appropriately all ooze and slime and delightfully as close to a villain as this show gets. Special note must go to Megan Sikora as Claudine. We saw her earlier this year in Marriott Lincolnshire's underwhelming production of Cabaret and found her Sally Bowles bland and uninteresting. Not here. Funny, charming, with a terrific voice and outstanding dance moves, she proved what a talent she is with a good director and choreographer. Both Bob and I are big fans of the aforementioned Mr. Danieley and Ms. Baldwin. Both infused their performances with class, charisma and lush vocals. "C'est Magnifique," "I Love Paris," "It's All Right with Me," "Allez-Vous En" and "I Am in Love" were thrillingly, goose-bumpily sung to perfection by Mr. Danieley and Ms. Baldwin. And I can't forget the comic highlight of the show "Never, Never Be an Artist." There are lots of reasons why the original production ran nearly 900 performances. A piece of fluff, perhaps, but ooh-la-la, c'est magnifique! - at the Paper Mill Playhouse, Millburn, NJ

ON THE TOWN - Lyric Theatre, New York - October, 2014

First it was the Ford Center, then the Hilton, then the Foxwoods, now the Lyric. What will it become next?

Just two days earlier, this revival of On the Town opened to rave reviews. This is the show that put Adolph Green, Betty Comden and Leonard Bernstein on the musical theatre map. It's a show many put on the short list of seminal, iconic musicals. For me, however, it's a musical of diminishing returns, despite a stunning production, a huge orchestra in the pit (30 if my count is correct) and a likable, attractive bunch of talented actors. The characters, especially the women, are cartoons. Only Jay Armstrong Johnson as Chip registered as a three-dimensional person. The plot is wafer-thin. The second act is all but non-existent. The choreography was perky or artsy as the situation warranted, but paled in comparison to that over at Can-Can and simply became too much of a good thing. Like You Can't Take It with You, this show also features a bonafide scenery chewer. But unlike Julie Halston, whose unerring instincts inform her just how far to take a bit or a piece of business before it becomes too much, Jackie Hoffman was mugging and ad-libbing to the extent that after a while, I actually cringed whenever she made an appearance. That made me sad because I love Jackie Hoffman. Her performance in Xanadu was a comic marvel, but in this show, she seriously needed to be reined in. And I found the portrayal of the MC of the Miss Turnstiles segment as a mincing, gay black man offensive. Ditto that of the two gay men in the Carnegie Hall scene. I'm sure neither were in the original. I don't care when the show was written; this is 2014. It wasn't fun. It wasn't clever. It was just offensive. But that's just me. The audience was clearly having a ball, giving long and loud ovations to many numbers. Curiously, however, when bows came, the hard-working cast received the obligatory standing ovation, but the cheers that accompanied the numbers were absent. It was almost as though the good folks at the Lyric enjoyed the parts more than the whole. Having said all this, though, to hear the Bernstein score played and sung with such skill was great and the evening was enjoyable. I'm glad I saw it. I just wasn't bowled over. For me, it's just On the Town. And, frankly, I could have done without the national anthem being played at the start of the show. Somehow that seemed, I don't know, inappropriate. - at the Lyric Theatre, New York.
        Sidebar: The time has come to keep theatres theatres and not substitutions for your

        living room, your favorite bar or a restaurant. Theatres have long allowed beverages

        and snacks into the auditorium, but at the Lyric they have finally gone too far and have

        introduced something called "Ordertorium." Menus were placed in a holder on the back

        of the seats and patrons can hold up these menus and order food and drinks directly

        from their seats. Thankfully, not during the show itself, but the ease one can obtain

        these things diminishes the experience. During the second act, the smell of Scotch was

        so overwhelming, I was getting an alcoholic rush. By all means, enjoy a snack and 

        cocktail…in the lobby. In the auditorium, let's keep it to just bottled water. Okay…I'll 

        get off my soap box now.

IT'S ONLY A PLAY - Schoenfeld Theatre, New York - October, 2014

The all-star lineup.

Yours truly with some pals from the play. We're all thisclose.

It wasn't at all surprising, given the star-studded cast of theatre vets, that Terrence McNally's play about the theatre would be funny. What was surprising, perhaps, was how relentlessly funny it was. Gasping-for-breath funny. Applause-on-exit funny. And who knew Stockard Channing could be so downright hysterical? A cast with this many award-winning stars could result in everyone stepping on everyone else's toes, but this cast was crisp, precise and a true ensemble. Special kudos to "and introducing" Micah Stock at the would-be-actor working as one of the party staff. His deadpan delivery and earnest cluelessness was a delightful contrast to the zaniness of the rest of the characters. McNally revised his 30-year-old play to make it up-to-the-minute current and everything theatrical was fair game. The simply gorgeous set by Scott Pask was a treat for the eyes. Packed house. Good luck getting tickets. - at the Schoenfeld Theatre, New York
        Sidebar: Definition of both a trouper and a star… During the run of Other Desert Cities,

        Stockard Channing had knee surgery to correct an earlier injury and was out of the show. 

        When we saw it, she had just returned to the show, having missed only a handful of 

        performances. Performing in a brace, she was absolutely brilliant. The knee flared up 

        again during previews of It's Only a Play and she was out on doctor's orders. She 

        returned ASAP to the show and when we saw the show, she was absolutely brilliant 

        (again!) and this time had a cane with her, which she used from time to time, primarily

        for support when standing. This is what true theatrical troupers and genuine stars do. 

        They get their injuries taken care of and then they get back to business as soon as they 

        can get a doctor's release because, well, they're stars and above the title and people paid

        a lot of money to see them. And they deliver the goods. Something younger performers 

        should remember as they call in sick because they have the sniffles or a hangover. Just 

        saying….

BOOTYCANDY - Playwrights Horizons, New York - October, 2014

The scenes in which the protagonist was not directly involved were all a shade too long, but overall Robert O'Hara's bracing play about being black and gay was full of both laughs and thought-provoking scenes. Playwrights clearly doesn't skimp where money is concerned and the physical production was impressive. Even more impressive was the caliber of acting given by the ensemble cast of five. This was the final performance and everyone was giving their "A" game. Not a perfect play and it won't be everyone's cup of tea, but I hope this play has a long and successful life. - at Playwrights Horizons, New York

A DELICATE BALANCE - Golden Theatre, New York - October, 2014

First preview! Edward Albee's unhappy, elegant and literate play about the delicate balance called life was brought to vivid life by a cast that included Glenn Close, John Lithgow, Lindsay Duncan, Martha Plimpton, Clare Higgins and Bob Balaban. I wanted to move into Santo Loquasto's beautiful set. There were a few minor tech issues and some lines flubbed here and there, all duly noted, I'm sure, by the production staff sitting a few rows behind us and armed with laptops and yellow legal pads. Ms. Close, making a return to the stage in almost twenty years, has a presence even when she is an observer in the proceedings. Lindsay Duncan has won a Tony and two Oliviers (the London equivalent of the Tonys) and for good reason. Claire is arguably the showiest role in the piece and Duncan skillfully mined all the humor and sadness of this complex character. Martha Plimpton was simply wonderful. In the smaller roles of the neighbors, Clare Higgins and Bob Balaban (the original Linus in You're a Good Man, Charlie Brown back in 1967!) were powerful and really kinda creepy. John Lithgow's breakdown scene, however, clearly took the evening's acting honors with an almost terrifying depth and nuance. Already in good shape, this is a solid revival of one of Albee's finest works. - at the Golden Theatre, New York

And that's it for now. Next time, I'll chat about some more top twenty-five musicals. Ta!
© 2014 Jeffrey Geddes