A LITTLE BIT OF THIS, A LITTLE BIT OF THAT – Part I - Some Potpourri

A LITTLE BIT OF THIS, A LITTLE BIT OF THAT – Part I

Some Potpourri

This will be a little different than usual. I'm far behind on filing recent programs, so I thought I'd do a potpourri of programs…no special letter of the alphabet, a range of shows from a Tony-winning play, to an underrated and under-patronized musical, to a flashy and entertaining popular Disney musical, to a star-studded revival of a former Tony-winning play, to a musical version of a classic film musical, and finally to a musical celebrating the work of an iconic American musical voice.

Comfy? Let's start

AN AMERICAN IN PARIS – Palace Theatre, New York

September, 2015. If there's a better way to spend the afternoon of your 65th birthday than at a Broadway show, especially if that Broadway show is a critically-acclaimed musical, well, I simply have no clue what that better way is. Perhaps unbelievably, I have never seen the iconic film of An American in Paris. Not being a Gene Kelly fan, I never saw the need. But I do love the Gershwin score and I am a big Max von Essen fan, so this was high on my list of must-sees. Elegant and beautifully designed, this was a feast for the eyes and the ears. All that unforgettable Gershwin music played by a big, fat, gorgeous orchestra. Yum! Stunning, breathtaking dancing. There's just something about seeing men lift ladies with such grace and beauty. With a wonderfully talented cast featuring Garen Scribner (the matinee alternate for the role of Jerry Mulligan), Leanne Cope, Broadway favorites Jill Paice and Veanne Cox, and Brandon Uranowitz, and the aforementioned Mr. von Essen, this was sung, danced, and acted with sincerity, playfulness, and ease. The capacity audience purred with delight. Did I mention the outrageously divine dancing? - at the Palace Theatre, New York

Sidebar: At the time, our niece Colleen, a dresser on some of Broadway's biggest hits, was working as a stitcher at An American in Paris and we were able to get a backstage tour of this legendary house. The backstage area isn't as big as one would think. Much of AAIP's scenery was flown and hanging from the fly loft. Got to see all the costumes, the quick changing areas downstairs, and, for me at least, the highlight, a stupendous birthday gift from Colleen, the opportunity to stand on the Palace stage…the same stage that Judy Garland, yes that Judy Garland, once stood on. It was a totally cosmic gay moment.

 A lone piano on stage at the Palace before the overture begins.

Move over, Judy Garland! I'm on the short side. So with crew-length socks and below the knees shorts and at my weight, I look like I'm getting ready to replace Chris Sieber as Miss Trunchbull in Matilda.

BEAUTIFUL: THE CAROLE KING MUSICAL = Stephen Sondheim Theatre, New York

February, 2015. The classic songs of Carole King, Gerry Goffin, Barry Mann and Cynthia Weil were the stars of this entertaining jukebox musical and pretty much made me forget about the paper-thin, and-now-we-did-this book that got far better than it deserved from the talented cast at the Stephen Sondheim. Too often folks overlook the ensemble, so I want to give a special shout-out to those remarkable men and women in the Beautiful ensemble who added so much spice and flavor to the show. Bravo, brava!  The production values were spot-on and helped the show flow seamlessly from one scene/song to the next. Scott J. Campbell (Gerry Goffin), Liz Larsen (Genie Klein), Anika Larsen (Cynthia Weil), Jarrod Spector (Barry Mann), and Paul Anthony Stewart (Don Kirshner) were all very good in their parts, but, with all due respect and admiration to the talented folks just mentioned,  it was Tony-winner Jessie Mueller as Carole King that the audience came to see and Mueller did not disappoint. Like a hostess entertaining her favorite guests at a party at her house, she charmed, she seduced, and she truly connected with the audience. She was effortless in performance. The material, however, did not allow Mueller or any of her castmates delve into any depth of character, so this show was played on the surface. Mind you, that's not necessarily a bad thing, but I didn't leave the theatre thinking I knew anything about Carole King that I wouldn't find out about in a well-written press bio. Overall, a tuneful, fun evening. This was everything Motown was not. - at the Stephen Sondheim Theatre, NYC

Sidebar: Jessie Mueller, a talented, vibrant actress, is a Broadway darling and has been ever since she first appeared in 2011's criminally misguided revival/revision/whatever-the-hell-it-was production of On a Clear Day You Can See Forever. She won the 2014 Tony Award for Best Performance by a Leading Actress in a Musical over some pretty heady competition. Yes, Mueller was good. In fact, she was very good, but the Tony that year should have gone, hands down, to Kelli O'Hara for her luminous portrayal of an Iowa housewife in the beautiful The Bridges of Madison County. O'Hara would win her Bridges Tony the following year for The King and I, an award that that year should have gone to Fun Home's Beth Malone. As I type this, Ms. Mueller is up for another Tony for Waitress. Again she's with a strong slate of talented women. Who will win?

ALADDIN – New Amsterdam Theatre, New York

February, 2015. James Monroe Iglehart won the 2014 Tony Award for Best Supporting Actor in a musical. Why, you ask? Well, just watch the Act One scene, or rather tour-de-force, in the Cave of Wonders, which includes the bring-down-the house-and-then-some number "Friend Like Me," which, incidentally, is worth the price of admission, and you'll see what I mean. It's good, old-fashioned, scenery-chewing, show biz pizzazz at its finest and Mr. Iglehart is simply amazing in it. Tore. Up. The. Place. With sensational scenery, incredible lights, gorgeous costumes, talented folks, and lots of eye candy, this was a dandy way to spend some time in the theatre. In addition to Mr. Iglehart, props go to Courtney Reed, who manages to give the underwritten role of Jasmine some brio and sass. Big applause also to Brian Gonzales, Jonathan Schwarz, and Steel Burkhardt as Aladdin's faithful friends, Merwin Foard as a gleeful Disney villain, Don Darryl Rivera as a this-close-to-being-over-the-top-but-still-very-funny Iago, and, blast from the past, 1971's Two Gentlemen of Verona's Tony-nominated leading man, Clifton Davis, in a return to the Broadway stage after an absence of forty-plus years, as the Sultan, and still showing off some impressive vocal chops.  And last, but most certainly not least, it was the handsome and thoroughly likeable Adam Jacobs, as the eponymous Aladdin, who had the bulk of the heavy lifting and he did it with true leading man aplomb. This may not be landmark musical theatre, but Disney put a lot of money into this solid piece of professional entertainment and it shows…and shows…and shows. As an added bonus, the show plays at the gorgeous New Amsterdam. The score is a classic with the highlight being the beautiful "Proud of Your Boy." This will continue to make buckets of money for Disney for years to come. - at the legendary New Amsterdam Theatre, New York

Sidebar: Disney came under some heavy-duty flak for the lack of actors of Middle Eastern descent in the cast of Aladdin. And, admittedly, though this cast was ethnically diverse, I couldn't spot a Middle Eastern surname among the performers. Did Disney deserve the flak? Or is it an overreaction in an over-cautious time? Whatever the case, it does raise some questions about diversity in the theatre and the purpose of color-blind casting. Aladdin is a fairy tale which takes place in a mythical and, one assumes, Arabian desert nation. But, with some rewriting, it could really take place anywhere. Oh, you might not get the flowing costumes and the bevy of shirtless or nearly shirtless men, but the story is kind of universal. So, since this is a fairy tale, what exactly is racially appropriate casting? This isn't The King and I or A Raisin in the Sun that has specific racial expectations. And if one takes as a basic tenet of color-blind casting that one's race or national origin should have nothing to do with the casting of most roles, and that the best person for the role should get the job, then expecting a certain percentage of whatever ethnic group sort of defeats the purpose of color-blind casting, doesn't it? Or does it? I certainly don't have an answer, but I applaud shows like Hamilton that, frankly, break with the obvious choices and introduce us to superb talents we may never have seen had their roles been cast along traditional racial/ethnic lines. I also firmly believe that directors, producers, creatives, casting agents, etc. should promote more diversity in all areas of the theatre. There are so many men and women out there whose work and talents may be undiscovered because they don't fit a traditional mold. It's important we all do our part to make sure theatre is a safe, creative, diverse haven for everyone. (This issue recently made local Chicago and national theatre news when a Chicago-based actor challenged the casting of Eva Peron in a regional production of Evita. I couldn't determine if this actor's concern was genuine or whether it was grandstanding or whether it was a sour-grapes thing because the actor isn't cast much in Chicago. It made a big splash for a few days, then made way for other news.)

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME – at the Barrymore Theatre, New York

The technicals were a complete, smack-your-head WOW!

February, 2015. OH. MY. GOD. Every now and then a play comes along that simply takes one's breath away, renews your faith in humanity, and reaffirms your love of the theatre. The Curious Incident of the Dog in the Night-Time is one of those plays. Alex Sharp's Christopher….OH. MY. GOD. Absolutely thrilling performance, mesmerizing in scope, flawless in nuance and detail.  Brilliantly directed and designed, and acted by a sterling ensemble, this is essential viewing for everyone who cares anything about theatre. This was one of the most exciting and memorable two hours and thirty minutes I have ever experienced in the theatre. I repeat... OH. MY. GOD!!! – at the Barrymore Theatre, New York

THE ELEPHANT MAN – at the Booth Theatre, New York

Mr. Cooper truly has his name up in lights!

February, 2015. Originally we were supposed to see this in October during the first week of previews, but conflicts pushed back the start of performances and this was our rescheduled date. I wish I could say it was worth the wait, but... Don't get me wrong; Bradley Cooper was wonderful in a very difficult role, both vocally and physically, and he never misstepped, and Alessandro Nivola was excellent as Treves, but Patricia Clarkson's Mrs. Kendal was surprisingly disappointing, making a meaty role almost a throwaway. Far too casual in posture, diction and attitude, I didn't believe that she was a celebrated actress of class and sophistication, and even though her final scene with John Merrick was well-done, it was a case of too little, too late. Diction was sometimes lacking and the play just seemed dated and taIky. The running time was a brisk two hours, but it somehow seemed longer and, somewhat contradictory, the revival's shortened length gave the play an unfinished feeling and seemed to rush details that would have given this production the richness that I remember from the original. (The most noticeable cut was a nightmare scene involving Treves and Merrick that I vividly remembered and greatly missed.) I enjoyed it, but I wish I'd enjoyed it more. - at the Booth Theatre, New York

Sidebar: The Elephant Man was nominated for four Tony Awards in 2015 and won none. Interestingly and somewhat bafflingly, Carole Shelley, the original Mrs. Kendal, won the Best Actress Tony when the play debuted in 1979, but in 2015, Patricia Clarkson was nominated for the same role, but in the Best Actress in a Featured Role category. How can a part be leading one time around and then featured the next?

HONEYMOON IN VEGAS – Nederlander Theatre, New York

February, 2015. I'm not exaggerating when I say that Honeymoon in Vegas was one of the freshest and funniest musicals I've seen in years. Well-executed and designed, with a fabulously bouncy and tuneful score by Jason Robert Brown, and who knew the masterful Mr. Brown could do "bouncy," a terrific onstage orchestra, and a sparkling cast headed by a suave and mellow Tony Danza, an appropriately perky and appropriately feisty Brynn O' Malley, very, very funny turns from David Josefsberg as a lounge singer, in the worst sense of the word, and Matthew Saldiver as an hysterical and clueless Danza right-hand-man, a take-no-prisoners comic gem of a performance from Nancy Opel, and an amazing star turn from Rob McClure, this was just, in a word, wonderful. There's nothing serious in it, no hidden subtext, no scenes of social conscience. Instead, it's exactly what a musical comedy, emphasis on comedy, should be…tuneful with great choreography, a cast that's talented, attractive and likeable, and loaded with big laughs. Being a retired flight attendant, I howled with delight at the second act's "Airport Song." We both loved it. Sadly, despite very favorable reviews, it struggled at the box office from its first preview onward. It had a two-month preview period, unusually long for a show that had a previously well-received incarnation at Paper Mill Playhouse in Millburn, NJ, and ran less than one hundred performances. Baffling and, really, quite criminal. The show is a gleeful treasure that clearly delighted the audience. – at the Nederlander Theatre, New York

Sidebar: Surprisingly for me, Honeymoon in Vegas did not receive a single Tony nomination. Now granted, it's no Fun Home, which won the Tony, but it was certainly on a par with the nominated Something Rotten! and even though I'm a huge fan of The Visit, this was a superior show. Honeymoon in Vegas could, however, have a long and profitable life in regional and amateur/community theatre.

That's it for now. More later!!

© 2016 Jeffrey Geddes

TWO QUICK TRIPS EAST: NOVEMBER & DECEMBER, 2013

TWO QUICK TRIPS EAST

NOVEMBER & DECEMBER, 2013

In November and December, 2013, Bob and I took two quick trips to Washington (November) and New York (November-December) to catch some shows. The impetus for the Washington trip was to catch a performance of the Broadway-bound If/Then starring Idina Menzel in her first Broadway appearance in almost a decade. Going to a benefit for Broadway Cares/Equity Fights AIDS was the reason, not that we ever need a reason, we journeyed to New York on the Saturday after Thanksgiving. In addition to If/Then and the benefit, we saw two outstanding new plays and two fun new musicals.

Since If/Then is one of this season's most highly-anticipated musicals, let's chat about that first.

November, 2013. Second preview performance. Confusing, very confusing, storytelling that had us and, according to overheard snippets of conversation, others bewildered. And that is a major problem because if your audience can't follow what's happening onstage, it's really hard to get involved with the characters. In their follow-up show to the absolutely amazing Next to Normal, creators Brian Yorkey and Tom Kitt give us a decidedly mixed bag. Book writer Yorkey offers the tantalizing concept of if you go down this path, the results are "A," but if you go down this other path, the results are "B," hence the title If/Then. (Sort of a companion to Follies' "The Road You Didn't Take."). The problem was that I was never quite sure if the show was on Path A or Path B. And, why, why does the plot involve urban planning? What does that have to do with if A, then B? The score by Yorkey (lyrics) and Kitt (music) is mostly solid with a kickass 11:00 number for the leading lady and a totally fabulous comedy number, "What the Fuck?"

But, justified or not, the selling factor, the reason bums are in seats, is not due to the presence of the Pultizer Prize-winning Yorkey and Kitt, but due to the presence of its leading lady in her first Broadway appearance in nearly a decade, Tony-winner Idina Menzel. First of all, let me state unequivocally that I think Menzel is a terrific singer. She knows how to interpret and phrase lyrics and she knows how to shade a song musically. For proof, I offer her 11:00 number (song titles not listed in the program since the show was in tryout mode) which was absolutely thrilling and her deft comic chops in "What the Fuck?" As an actress, however, she's not quite as impressive. Keep in mind that If/Then is only her third Broadway show. She's been away from the stage for a number of years. While always competent, she was frequently tentative, as if she didn't totally trust her instincts or trust the director's guidance, and, frankly, just not a very exciting actor. It was a star turn without much star power, at least at the performance I saw. And how you respond to Menzel's character largely depends, I believe, on how willing you are to accept that Menzel's character has a PhD in urban planning. I didn't quite buy it. No reflection on Menzel's intelligence, but she just didn't come across as a sharp academic. (In the same category, but not quite as unbelievable as Cameron Diaz as a surgeon in the overrated "Something About Mary" or Dyan Cannon as a judge in "Ally McBeal.) Don't shoot the messenger, but the story would have been better served had co-star LaChanze and Mendel switched roles.

And speaking of LaChanze… She was a marvel to behold, as always, lit up the stage whenever she was on and easily overshadowed Menzel whenever the two appeared together. And, no, LaChanze was not doing this deliberately. Her stage presence and confidence is just more powerful, at least at this stage of the If/Then game, than Menzel's. Third-billed Anthony Rapp was saddled with the evening's worst song, a paean to the romance of buildings or something like that (it didn't make much sense and went on forever), and his role as an urban activist who has apparently no discernible source of income, and if he does, I missed it, and lives as a squatter in buildings that the city urban politicos want to tear down, could easily be his character in Rent twenty years later. Jason Tam, Jenn Colella and especially the engaging James Snyder all provided solid support. The talented ensemble was misused in some of the worst musical staging I've seen in a long time. Expensive and cool set.

Overall this show has the potential to be a successful and satisfying hit, but it needs lots of work. Focus needs to be tightened, the leading lady needs to bump up her acting, and the overall staging needs to be revisited. In only its second performance in front of an audience, it was entertaining and never boring, but also kind of a hot mess. I truly wish it well. - at the National Theatre, Washington, DC

Signature Theatre in Arlington, VA. One of the great regional theatres in the country.

November, 2013. Funny. Intense. Funny. Heartbreakingly intense. Devastating. Disturbing. This new play by Paul Downs Colazzio in its world premiere production was involving and never dull. Signature clearly spent big bucks on the impressive physical production. Michael Kahn directed a superlative ensemble cast: Wayne Duvall, Anthony Bowden, Christopher McFarland and especially Christine Lahti in a superbly acted and nuanced portrayal of a woman whose world collapses around her. It wasn't a perfect play, but I was riveted and look forward to seeing more from this exciting young talent. - at Signature Theatre, Arlington, VA

November, 2013. The world premiere of a Terrence McNally play? Yep, I'm there. This glorious love letter to the theatre from the early Greeks to today's theatre frequently intermingled time frames and was often very funny, sometimes quite dense and continuously fascinating. An incredibly wonderful set filled the wide stage at the Pearl and was as much a part of the show as the actors. And what actors! True ensemble acting is always exciting to watch and this was truly an ensemble effort. Everyone brought their "A" game to the performance from their personal introductory speeches to the final bows. It's not for everyone, but I can see a bright future for this play in adventurous university theatre. I'd love to see TimeLine tackle this. Kudos to all involved and thanks for an exciting, thought-provoking night at the theatre. This is what it's about. - at the Pearl Theatre, New York

December, 2013. Witty, elegant and very, very funny. The literate and clever book by Robert L. Freedman was complemented by a tuneful and clever score Mr. Freedman and Steven Lutvak that included two full-tilt show-stopping numbers in the second act. The show opened with a delicious patter number and, praise be!, you could understand every lyric!! Absolutely flawless diction throughout. (Actors, take note. it can be done!) The sets, costumes and lighting were spot-on. It was directed with considerable style and flair by Darko Tresnjak. And a standing "O" for the dressers backstage who manage to get people in and out of elaborate costumes in far less time than it took Carrie Underwood to change into her wedding gown. (Everyone made such a big deal that this change took Underwood and crew only 50 seconds. BFD.  Child's play for the wardrobe people at the Walter Kerr. Let's talk about 10 seconds, if not less.) Smashing ensemble and big applause for the terrific supporting ladies: Lisa O'Hare, Lauren Worsham and Jane Carr and starring two incredibly talented men: Jefferson Mays and Bryce Pinkham. Simply delightful and so, so clever. A show not to be missed. - at the Walter Kerr Theatre, New York

December, 2013. A modest musical by James Lapine and William Finn and directed by Lapine that was loaded with charm and heart. A-list talent in all departments. Perhaps the expectations were too high for this show which may explain the decidedly mixed critical response, but we quite enjoyed it. There were some lovely songs and touching moments and solid acting by the accomplished cast which included Stephanie J. Block, Will Swenson, Josh Lamon, Rory O'Malley, David Rasche, Logan Howland, Wesley Taylor and a remarkable performance by young Hannah Nordberg as Olive. Well done, all. - at the Second Stage Theatre, New York

December, 2013. Our first time attending this annual benefit performance for Broadway Cares/Equity Fights AIDS starring the multi-talented Ann Harada, reprising her role of Christmas Eve from Avenue Q. We applauded like mad and cheered and in general carried on with total glee. And who wouldn't with this lineup of handsome and talented guest stars: Aaron J. Albano, Adam Chanler-Berat, Santino Fontana, Jordan Gelber, Greg Hildreth, Jose Llana, Howard McGillin, Leslie Odom Jr., Clinton Sherwood, Howie Michael Smith, Wesley Taylor and Max von Essen. (And yes, Messrs. von Essen and Taylor, feel free to take off your shirts anytime!)  Such talent; such joy. And all for a magnificent cause. And for the record, Ann Harada's real voice is, well, pretty damn awesome. - at XL Nightclub, New York

That's it for now. See live theatre this week.

© 2014 Jeffrey Geddes