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

THE IMPORTANCE OF BEING SANTINO (with guest appearances by Spidey, Emily and those wacky Chekhov kids!)

THE IMPORTANCE OF BEING SANTINO

(with guest appearances by Spidey, Emily and those wacky Chekhov kids!)

While on our most recent trip to New York City (March 17-20, 2013), we enjoyed four productions. The specific purpose of this trip was to attend, for the 6th year, Broadway Backwards, the marvelous annual benefit for New York's LGBT Center and Broadway Cares/Equity Fights AIDS. (see previous blog) We also saw one of Bob's former students in quite possibly the most talked about musical in Broadway history, a tear-inducing-from-laughing-too-hard comedy and the first Broadway production of a beloved Rodgers and Hammerstein work. In the R&H work, we had the opportunity to once again see a familiar and talented actor, Santino Fontana.

Santino Fontana is not just another pretty face. Make no mistake: he is mighty handsome, but he's also a mighty talented, multi-faceted actor who can sing and dance with the best of them. He's given impeccable performances in the four shows (to date) that I've seen him in: as the loving, protective older brother in Billy Elliot; as Oscar Wilde's sophisticated and witty Algernon Moncrieff in Roundabout Theatre's stunning production of The Importance of Being Earnest, as the unlikely hero with chronic pain and a more-than-slightly off-kilter family in Sons of the Prophet; and most recently as the sweetly clueless and totally charming Prince Topher in Cinderella. In addition, he currently can be seen on the wonderful web series "Submissions Only," which, in my opinion, should be required viewing for anyone in or interested in the theatre. (Sidebar: also be sure to check out another outstanding web series, "It Could Be Worse.") He's among the best of the under-35 actors currently working in the theatre and I can only hope that the theatre has the good sense to keep him and not lose him to television or film.  Oh, okay. TV and film can borrow him, but that's it. I predict it won't be long before we see his name above title on a brightly lit Broadway marquee.

Let's start off with the Fontana archives.

October, 2008. Preview performance to celebrate Bob's 60th. This import from London is one of my top 25 musicals. By this time, we'd already seen the show three times in London and were thrilled when the Broadway production was announced. The film is also among my favorites. The story about a boy who dreams of escaping the dreariness of life in a coal-mining town in northern England during the Miners' Strike of 1984 resonates with warmth, heart and love while making some not-so-subtle political points. While the story may be universal, the musical itself is English to the core and I wondered how it would do in the move across the Pond. Some minor book changes were made and a program note helped to clarify the references to the odious Thatcher regime, but the heart of the show remained intact and the glorious dancing and the terrific Elton John score were wonderfully realized, but, somehow, the show didn't tug at my heart as it usually does. The performances by Haydn Gwynne (in her original role as Mrs. Wilkinson), Gregory Jbara (Dad), Carole Shelley (Grandma), Santino Fontana (Tony), Trent Kowalik (Billy), Frank Dolce (Michael) and Leah Hocking (Dead Mum) were all spot-on and couldn't be faulted. And certainly, the physical production remained a marvel. Yet, and I couldn't tell you why, the London version seemed more raw, more accessible; the Broadway edition seemed perhaps a tad too slick and polished for its own good. Like I said, I can't tell you why I felt that way, I just did. The show received ecstatic reviews and it won a slew of Tonys, but didn't become the mega-smash everyone thought it would become. It didn't fare terribly well on the road either. A Chicago sit-down version closed early in the wake of mediocre business and lukewarm reviews and other road companies ended after modest tours. But, no matter what the reception here in the States, this is a marvelous work. - at the Imperial Theatre, New York

January, 2011. Perfection. No, seriously, folks, absolute perfection. Sumptuous costumes, perfect lighting and a stunning physical design were a treat for the eyes and the superb acting, lead by Brian Bedford in a performance not to be missed (and he didn't win the Tony Award because???), dazzled us at every turn. Mr. Bedford's casting as Lady Bracknell was not, I repeat not, stunt casting. He was every inch the imperious matron, taking charge and taking stage, but never over-taking the stage, with every appearance. In his capacity as director, he kept the action moving and the humor sharp and tart, as Oscar Wilde intended it to be. Kudos to the entire cast, but special shout-outs to the four young actors whose antics fueled the play: Santino Fontana (Algernon), David Furr (Jack), Sara Topham (Gwendolyn) and Charlotte Parry (Cecily). And who wouldn't relish the delicious turns by theatre vets Paxton Whitehead as the Rev. Chasuble and Dana Ivey as a befuddled Miss Prism. If this production were a term paper, I'd give it an A+. (Sidebar: be sure to check out either playbill.com or youtube for "Jersey Shore" Gone Wilde. Hilarious!) - at the American Airlines Theatre, New York

December, 2011.  A sterling cast led by the always-reliable Joanna Gleason and the talented Santino Fontana excelled in this wonderful play about family, loss, forgiveness, trust, friendship, passion and pain. Often funny in unexpected ways; often moving when you didn't expect it. Beautifully directed with top-notch production values, this Roundabout offering was an exhilarating afternoon at the theatre. - at the Laura Pels Theatre, New York

March, 2013. Douglas Carter Beane's updated, more modern take didn't always work, but he had the good sense to keep the romance intact and even, in an inspired update, added some romance for one of the stepsisters. Anchoring this timeless tale were the wonderful performances of Laura Osnes as a no-nonsense, intelligent, very non-simpy Cinderella and Santino Fontana as a sweetly befuddled Prince Topher. Both of these actors had charm and charisma to spare and the pipes to make the most of the glorious Rodgers and Hammerstein score. A highpoint: when Price Topher finally told off his Lord Chamberlain and the audience voiced their approval. Hats off to Victoria Clark, Harriet Harris, Ann Harada, Peter Bartlett, Greg Hildreth and Marla Mindelle. Beautiful to look at and beautiful to listen to, this was a most enjoyable way to spend an evening. By the way, loved  the glass slippers! - at the Broadway Theatre, New York

And now our guest stars!

March, 2013. Ridiculously entertaining and deafeningly loud with a jaw-dropping physical production. This show will never make it on anyone's top ten musicals list, but it certainly must rank as the most expensive musical ever. And, just off the top of my head, I can't imagine it ever making its money back. Having said that, this was not  the disaster we were expecting it to be. (Or were lead to believe.)The reason we went, frankly, was to see one of Bob's former students, Emily Shoolin, who, by the way, was excellent in a featured performance. (Loved her as the secretary and the voice of the receptionist!) Robert Cuccioli as the Green Goblin was deliciously over-the-top. There were some tuneful ballads in the score, amazing flying and nice, sweet performances by Reeve Carney and Rebecca Faulkenberry as the web-crossed (sorry!) leads. I was pleasantly surprised. (And we loved our backstage tour. Thanks, Emily!!) - at the Foxwoods Theatre, New York.

March, 2013. Chekhov should be this funny!  When an audience spontaneously responds to something an actor says during a monologue, that says something about both the writing and especially the actor. I won't say anything else, just take my word for it that Kristine Nielsen is, well, incredible. And as if that wasn't enough, shortly thereafter David Hyde Pierce does a tour-de-force that had us weak from laughter. And as if that wasn't enough, Sigourney Weaver wearing a Disney Snow White costume has got to be seen to be believed. Who knew Sigourney Weaver was so adept at comedy? And props to the remaining three members of this extraordinary cast: Billy Magnussen, Shalita Grant and Genevieve Angelson. Spot-on technically, beautifully directed by Nicholas Martin, and skillfully written by Christopher Durang, this was absolutely first-rate. - at the Golden Theatre, New York

Support live theatre wherever you may be. There's nothing like it! Until next time.....