Five Days/Seven Shows - The Good, The Bad, The
Indifferent
Bob and I
returned this week from a theatre marathon in Boston and New York City. We were gone five days and saw seven
shows. For some, this may seem
staggering, but for us, it's the norm. We're
theatre pigs, plain and simple. This is
what we do. Many of our vacations are
planned around what's playing where and it's an infrequent holiday that doesn't
include at least one theatrical outing.
On this
particular trip, we saw three plays and four musicals. The productions seen were a mixed bag of styles
and themes. Although on paper all of
them should have been winners, some were better than others and one was a
flat-out dud. And that is the reality of
the theatre. Some truths: casting a
classic with a stellar cast does not necessarily translate into a brilliant
production; a dull play is a dull play no matter who is playing in it; spoofs
are not always successful; theatrical brilliance can be found in a one-person
show; not copying the original staging in a revival of a beloved show is not
always a good move; Tony Awards are not always given to the show that truly
deserves it (perfect example: The Lion King won the 1998 Tony Award for Best Musical over Ragtime) and sometimes Tony Awards are given to the best show of an
indifferent lot (the 1986 Tony Award contenders for Best Musical). And, that, kids, is show business!
Without
further ado…here are the shows in viewing order.
February,
2013. Let me state right off that I've
never been much of a Williams fan. I think Suddenly
Last Summer is a wonderfully over-the-top hot mess and I'm a fan of that,
but as for the rest? Meh. But with a cast that included Cherry Jones, Zachary
Quinto and Celia Keenan-Bolger, this production of Williams' classic made my "must-see"
list. Sadly, I wasn't overly
impressed. (Bob hated it; I liked it
better than he did.) I liked the tower
of fire escapes, but I thought Laura's being pulled out of the sofa at her
entrance and retreating back into the sofa at the end a bit, well, stagey for
staginess' sake. And I so agree with Bob
on this… if you're going to mime props and working with props, make sure the
audience knows what you're doing and much of the time, I didn't. The performance itself seemed muted. I saw few flashes of fire. Amanda was more naggy and irritating than
dangerous and delusional and Tom was more selfish instead of a man having the
soul sucked out of him. Only the scene
between Laura and The Gentleman Caller, beautifully played by Keenan-Bolger and
Brian J. Smith, gave an indication of what this production could have been. I felt as though the director was trying to
impress upon us that this is an important play and forgot that first and
foremost, it's a play. Tell the
story, cleanly and clearly. Let us determine
its importance. Given the restraints
imposed upon them by the director, the actors did their best, with top honors
going to Celia Keenan-Bolger whose Laura was just so beautifully realized. The NY Times reviewer fainted over this. I didn't. I wish I'd liked it better. - at the American Repertory Theatre (Loeb
Drama Center), Cambridge, MA
February,
2013. The orphans are back and I'm glad they are. This is a first-rate revival
of a first-rate show. Yes, you read that correctly…a first-rate show. It has a fine book and a sparkling
score. It's tight, nicely paced and has
a warm heart and this production wisely played up Annie's inherent assets. Katie Finneran, as Miss Hannigan, chewed
everything in sight, and delicious as that was, I felt it was also at the cost
of a real character. Lilla Crawford did everything right as Annie. Her New York
accent was a nice touch. Aussie Anthony Warlow took top honors as a superb
Warbucks (actually the best I've seen). Two negatives. 1) Andy Blankenbuehler's
choreography was serviceable at best, but nothing more. His "Easy Street," frankly, was
just plain dull and turned this show-stopper into just another number. 2) Sunny, as Sandy, basically "barked"
in his canine performance. Totally disinterested in doing the work. I'm
serious. The dog tanked. The gazillion kids in the audience loved the
show. Boring choreography
notwithstanding, so did we. - at the Palace Theatre, New York
February, 2013. Much frivolity was
onstage for the packed Saturday matinee we attended. Not all of the spoofs hit the mark, but most
did. The Once and Evita segments
were hysterical, as was the Diane Paulus dig. This franchise has done funnier Les Miz spoofs in the past and the Mandy
Patinkin/Patti LuPone segment was overlong and under-funny. That being said, we
laughed lots. An added bonus for me was new cast member Lindsay Nicole
Chambers, who kills as Gail in "Submissions Only." All involved were
so talented and versatile. It's reassuring to realize that the Fabulous Invalid
is in such wonderfully capable hands. (Note: notice the title of the program. I
missed it; Bob brought it to my attention.) - at the 47th Street Theatre, New
York
February,
2013. Edie Falco abruptly places her classroom in the care of a six-year-old
girl, leaves her family and, for all intents and purposes, vanishes, but we're
never told why, which makes the whole play rather pointless. And as a result, I
didn't really care what happened to anyone. And worse, it made Falco's character
simply another selfish, self-absorbed person who could not care less about the
consequences and ramifications of her actions. Yawn. One or two nice individual
scenes, but as a whole the play was just plain dull. I think the
playwright may be a flavor-of-the-month writer based on an earlier success at
the MTC, but I wasn't impressed with her dramatic skills. Falco was
underwhelming and the marvelous Frances Sternhagen was cast in a part that could
have been lifted directly from an episode of "The Closer." You don't
hire Frances Sternhagen and then not utilize that talent! The other actors were
all professionally competent, but everyone played their parts with a
listlessness that bordered on boredom.
Impressive production values, but this really was a miss. Or as Bob so
succinctly put it, "Watching paint dry would have been more
exciting." Oops. - at the Manhattan
Theatre Club/New York City Center Stage 1, New York
February,
2013. Roundabout's critically acclaimed
production was the first revival of the 1986 Tony Award winning show for Best
Musical. And, with apologies to Drood
diehard fans, I firmly believe this show won simply because it was the best of
a mediocre lot. Not that this show is
mediocre. Not at all. It's clever and fun with lots of delightful
interaction with the audience in music hall fashion, but it's not a terrific
show either. In my humble opinion, I feel this show is a good, solid
"B" musical. I really loved the second act, but I felt, in the first
act especially and the show overall, that Rupert Holmes wrote a better play
than a musical. (Holmes wrote book, music and lyrics for this.) I've never been
a fan of the score, although it does have its share of good, if not especially
memorable, tunes. This production was also blessed with a nifty orchestra and
lush production values.The A-list cast, including the legendary Chita Rivera,
worked hard to ensure the audience had a good time. I truly enjoyed it, but… - at Studio 54, New York
February,
2013. At the risk of sounding like a
paid shill for the All the Rage
company, all I can say is A...MAZ...ING!! Full stop. A
perfect example of why I love the theatre. Martin Moran was simply superb and
has the ability to make one feel like he is talking only to you and that you
are very special to him. Thank you, Mr. Moran, for sharing this very personal
journey that was both moving and often so funny. This was just so, so good. It
touched me to my core. Bravo. - at the
Peter Jay Sharp Theatre, New York
February,
2013. 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
Until next time...Ta!
