MARCH 2014 NYC MADNESS OR… SIX SHOWS, FOUR DAYS, ONE SENIOR MTA PASS

MARCH 2014 NYC MADNESS

 OR…

SIX SHOWS, FOUR DAYS, ONE SENIOR MTA PASS

The year, as in the past several years, our favorite benefit performance, Broadway Backwards, took place in March. Not that we need any reason whatsoever to make a pilgrimage to the country's theatre capital, but Broadway Backwards is as good an excuse as any to spend a long weekend in New York and catch some shows.

On this journey, we stayed in a new location for us…the Lower East Side in a new Holiday Inn on Delancey Street. Now, I've never wandered to the Lower East Side, though, of course, I'd heard of Delancey Street. Probably because I've seen "Funny Girl" too many times for anyone's good, I thought that, like Henry Street, the entire Lower East Side was quiet and oozing with quaint urban charm. Wrong. Delancey Street is a charmless, loud, busy NYC street. So much for "Funny Girl." Having said that, the subway was a scant two blocks from the hotel.

Quick summary: an amazing appearance by a legendary Broadway performer that was both exhilarating and humbling; a hysterical theatre-based farce that was a delightful last-minute choice; three tantalizing performances in Terrance McNally's new gem of a play; a silly piece of musical fluff that brought lots of smiles to our faces; another last-minute choice that unexpectedly moved me in a way that I haven't been moved in a very long time; a much-anticipated performance of the much-lauded revival/replication of one of our favorite musicals starring its original Tony Award-winning leading actor that curiously was, well, let me put it this way… it was our least favorite show of the lot. And last, but certainly not least, Bob got his Senior Reduced-Fare MTA transit card! What I thought (feared?) would be a long and complicated process took around fifteen minutes or so. Do not underestimate how very cool this is, ladies and gentlemen. One of the perks of getting older!

In order of appearance, so to speak….

 

The glorious show curtain that greeted us as we entered the St. James.

March, 2014. When the delicious Marin Mazzie utters those immortal words, "don't speak," you don't because you're laughing too hard. As the vain, egotistical Helen Sinclair, Mazzie chews the scenery with gleeful abandon. And that's pretty much how things go for most of the evening in this bright, funny and lavish musical version of Woody Allen's popular film. And then comes the finale and instead of coming to the wow conclusion the show deserved, it ended on a well-executed and enthusiastic, yet flat note. The show is in previews, so hopefully that will change. In addition to Mazzie, big props go to leading man Zach Braff, a wonderfully dry and funny Nick Cordero as a murderous gangster with the soul of a playwright, a sinfully underutilized Karen Ziemba and the hysterical Heléne Yorke as Olive, whose "The Hot Dog Song" was a naughty delight. A lush orchestra, brilliant sets, amazing costumes, and, of course, toe-tapping Susan Stroman choreography added to the fun. (Stroman pulled out all the stops and while incredibly enjoyable, it wasn't always very original with more than a few references to other Stroman shows, especially The Producers.) A great way to start our NYC weekend. (5/2014 update: Apparently Bob and I and the capacity audience at the St. James had a much better time than the critics did when the show opened. Mixed reviews and not the huzzahs I expected for Mazzie and Yorke. Ah, well.) - at the St. James Theatre, New York

March, 2014. Let me state this right off the bat: I rarely get misty-eyed or weepy at the theater, but the last scene in The Bridges of Madison County almost had me in full-blown sobs. Gentle, elegant, blessed with one of the finest scores in years, thank you, Jason Robert Brown, and fortunate enough to have two outstanding actors, Kelli O'Hara and Steven Pasquale, as its leads, this unexpected treat for the eyes, ears and soul transported its audience with truth and beauty. We both fell in love with it. I can't wait to see it again. (5/2014 update: As I write this, I'm very saddened to have to type that this glorious, wonderful, heartfelt show will be closing on May 18. Despite favorable reviews, it just couldn't compete against the bigger, spashier shows and, since it was egregiously overlooked by the Tony Award nominating committee and thus couldn't get the box-office boost nominations typically bring, this gem of show posted its closing notice. I'm both angered and sad. This is truly a loss for Broadway, but I know that Bridges will thrive at discerning regional theatres in the near future.) -at the Gerald Schoenfeld Theatre, New York

March, 2014. What was a revelation at the Donmar Warehouse in London in 1993 and then in New York in 1998 now seems a bit tired. Bringing absolutely nothing new to the proceedings, this was a slavish replica of the original Roundabout production. Alan Cumming wasn't exactly phoning it in, but he wasn't exactly fresh either. Michelle Williams, in her Broadway debut, however, was a fine Sally and delivered a masterful interpretation of the title song. Linda Emond and Danny Burstein brought expected professionalism to their roles as Frl. Schneider and Herr Schultz and gave the show the humanity it generally lacked. It was all professionally done, but very, very slick and lacked any true excitement. And let's not even talk about the horror that was "It Couldn't Please Me More" that I must have mercifully blocked from my memory of other viewings of the show at Studio 54. I wasn't terribly impressed. Full disclosure…the capacity audience screamed at everything Alan Cumming did and seemed to have a "perfectly marvelous" time. Obviously, Bob and I were in the minority. Ah, well. - at Studio 54, New York

 

March, 2014. Last preview before opening the following night. This wonderful mix of humor, substance and heart ranks among Terrence McNally's finest works in my opinion. Frederick Weller's character's story was, in many respects, mine, so sometimes the action in the play was a bit hard emotionally for me. Stunning set by the always superb John Lee Beatty. Exceptional performances by Mr. Weller, Bobby Steggert and an adorable, very young Grayson Taylor. And anchoring it all was the indomitable Tyne Daly...fierce, funny and ultimately heartbreaking. There is a reason why I will see her in anything. This show should be consistently selling out at the box office, yet it has struggled since it began previews, giving one reason to be concerned about the viability of serious drama in today's commercial environment. - at the John Golden Theatre, New York

March, 2014. I predict lots of residual income for Sarah Ruhl as savvy regional theaters add the delightful Stage Kiss to their seasons. A romance of quirky sorts, it's very, very funny, yet also has a warm heart to it. Ruhl skewers some sacred theatrical cows in this smart, sassy romp to great effect. Tight direction, exceptional production values that belie the relatively modest size of the venue, and a superb ensemble lead by Jessica Hecht and Dominic Fumusa (Edie Falco's ex-husband on "Nurse Jackie"). Great comedy and lots of fun. This is a play I'd love to see Bob direct.- at Playwrights Horizons, New York

March, 2014. OH. MY. GOD. The original Kate of Kiss Me Kate, Patricia Morison. 99 years old, looking fabulous and glamorous, sang all of "Brush Up Your Shakespeare" with style, great humor, and in great voice. And I got to see it! Thrilling, emotional and truly humbling as the entire capacity-audience jumped to their feet and paid loud and ecstatic homage to the talent and class of this remarkable woman. I am one lucky man. But, wait, there was more. Lots more. Some highlights: Julie White as a simply divine hostess, Andrew Rannells exciting "The Man That Got Away," Norm Lewis' "Home," Uza Aduba and Rachel Bay Jones' "In Lily's Eyes," Roger Rees scathing "Could I Leave You?," Billy Porter nailing "And the World Goes Round" and the excitement of seeing Michael Berresse and Tony Yazbek recreate the Bob Fosse/Ann Reinking choreography in "Nowadays/Hot Honey Rag" from Chicago. The was our 7th year attending this amazing event. It's always been a theatrical highlight of the year and this year certainly was no exception. Pure, unadulterated pleasure! - at the Hirschfeld Theatre, New York

That's it for today. Can spring finally be here??

© 2014 Jeffrey Geddes

NEW YORK IN A HURRY…AND A ROAD TRIP TO MILWAUKEE AND LINCOLNSHIRE

NEW YORK IN A HURRY…AND A ROAD TRIP TO MILWAUKEE AND LINCOLNSHIRE

It's been a while since I've posted a new episode. I've been so busy juggling a myriad of hats with an upcoming production of Cabaret  that Bob is directing now for an April opening, that I've had little time for much of anything else.  But, at long last…a bit of a mixed bag in this post with no real theme or connection. In February, I took a quick two-night trip to New York to see a concert version of Maury Yeston/Peter Stone's Titanic at Lincoln Center. Bob, sadly, had to stay home and suffer through load-in and the start of techs for a lackluster show for which he designed a simply amazing set. Neither of us were happy about that, but I soldiered on and managed to see two additional shows while in Manhattan. (You didn't think I'd let a Sunday go by without a performance, did you?) The other two entries are early March excursions to see a mediocre production of Cabaret and a thrilling production of An Iliad in Milwaukee.

New York first.

February, 2014. When Charles Busch is onstage with longtime friend and collaborator Julie Halston, you can feel the love, trust and fun and the stage sparkles. Add the delectable Cynthia Harris and you've got a mighty trio. There are three other characters and the talented actors all do well enough, but didn't leave much of an impression. To a large degree, that's because Busch's very enjoyable new play is also very uneven. It starts off like gangbusters, but then has a big dip in act two and never completely regains the potential of the wonderful first two scenes. Flaws aside, it's chockablock with delicious one-liners and has an abundance of heart. A fabulous set framed the action and the direction kept everything going smoothly. I liked it and it's always a treat to see Mr Busch and Ms Halston in action. - at 59E59 Theaters, New York

February, 2014. At three hours long, this could use some gentle and judicial trimming. I say this with great reluctance since I have no idea what should go. The second act sometimes gets a little pedantic, so I'd probably trim that down a bit. Effortless performances by a large cast with special kudos to John McMartin. At 84, he handily proves he still has the goods. He is without peer - a true actor's actor and I will happily see him in anything. Other outstanding turns by Michael McKean, Robert Petkoff, Christopher Liam Moore, Betsy Aidem, Roslyn Ruff and Brandon J. Dirden. Bums-in-seats star Bryan Cranston is remarkable as LBJ and makes us care for this complicated man even when he's a cold and unyielding bastard. It was an impressive performance. Everything about this production was top grade. Highly recommended. - at the Neil Simon Theatre, New York

February, 2014. Manhattan Concert Productions presented this. These are the same folks who produced last season's breathtaking concert edition of Ragtime. Last year's performance bordered on a religious experience; this year was no different. It was simply magnificent; a feast for the ears and the soul as Peter Stone and Maury Yeston brought the legendary tragic saga of the ill-fated R.M.S. Titanic to a human level, devoid of the special effects and stereotypes of James Cameron's much-lauded film. (Lest you get the wrong impression, I quite like Mr. Cameron's film. But it's often more spectacle than story.) From Captain to First Class Passenger to the Bellboy, director Don Stephenson and music director Kevin Stites gave us characters we may have loved or hated, Bruce Ismay was really a despicable human being, but we were interested in all of them and cared about many of them. This is not a perfect show. Not every number lands: the Strauses' "Still," ably sung by Alma Cuervo and Ron Raines, tugs at our emotions, but doesn't quite touch us the way the authors intended; "I Give You My Hand," a beautiful song cut during Broadway previews, is pretty to listen to, but seems grafted onto the proceedings; "Mr. Andrews' Vision," while powerful, perhaps could have better made it's point in a frantic spoken monologue. But, then, ladies and gentlemen, there is that opening sequence: a glorious experience that ranks as one of musical theatre's most singular opening numbers. According to the program, seven pieces of music make up this opening, ending with the goosebump-inducing "Godspeed Titanic," which also brings the show to its triumphant conclusion. It's a marvel of acting, singing, and, even in this concert setting, staging. Like last year, a 250-strong chorus added an extra thrilling element to the ensemble numbers. Many of the original cast members returned to reprise their roles and they were all greeted with enthusiastic "welcome home" entrance applause. This remarkable cast included, in addition to Ms. Cuervo and Mr. Raines, Michael Cerveris, David Constabile, John Bolton, John Cunningham, David Garrison, Jill Paice, Michele Ragusa, Ryan Silverman and other talented Broadway pros. Top honors, though went to David Elder as Frederick Fleet with a haunting "No Moon" to close Act One, Joseph Castinado, a high school junior, whose excitement at being in this production in the role of Bellboy was positively contagious and totally endearing, but most especially to Brian d'Arcy James (Frederick Barrett) and Martin Moran (Harold Bride) whose duet of "The Proposal/The Night Was Alive" stopped the show cold and when they appeared together at bows, brought the already loud and enthusiastic applause to a deafening roar of cheers and bravos. My good pal, Gina, joined me and she remarked that she'd seen nothing quite like this. I agree. - at Avery Fisher Hall, Lincoln Center, New York

FYI, Cabaret is not about a bowler hat and a damn chair. Stop it this instant!

March, 2014. What I liked: the male ensemble's "Tomorrow Belongs to Me," the briefcase business during "The Money Song," the finale to Act One. What I didn't like: pretty much everything else. Sanitized and not at all sexy. It's unclear why Marriott chose to produce the 1998 Broadway revival since they excised all the edginess out of it. I suspect it had a great deal to do with being able to perform the revised 1998 song line-up inclusion of "Mein Herr," "Maybe This Time," "The Money Song" and "I Don't Care Much," none of which were remarkable. Director David H. Bell delivered a muted, bland production with muddy choreography by Matt Raftery, uninteresting acting and indifferent singing. Nancy Missimi's costumes looked as though she pulled the stock from Marriott's Thoroughly Modern Millie and called it a day. There were no surprises, not a single "wow" moment and it was about as dangerous as a Disney movie. The most hysterical moment occurred early in the proceedings when Bobby and Cliff kissed. A gasp went through the audience. I'm serious. A gasp. Really? People, it's 2014! Geez! Everything was very professional, but very dull. A disappointment. - at the Marriott Theatre, Lincolnshire IL

March, 2014. Sometimes you see a performance that is so amazing, so breathtaking in scope and execution, so singularly excellent that you simply can't find adequate words to describe it. This was the Milwaukee Rep's production of Lisa Peterson and Denis O'Hare's An Iliad. Surrounded by the typical production excellence that the Rep consistently delivers, actor Jim DeVita and cellist Alicia Storin, under the flawless direction of John Langs, created theatrical magic that transported the audience to another time, yet one that seemed disturbingly current, and another place, yet one that had a disquieting ring of familiarity. You could hear a pin drop throughout the performance and there were moments when I simply forgot to breathe. Powerful ideas and words; thrilling theatre. - at the Milwaukee Rep, Milwaukee

We're off to New York for a long weekend for the incredibly wonderful Broadway Backwards. Naturally, we'll see other shows as well. Stay tuned! In the meantime, go see a show. Cheers.

© 2014 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