The Drowsy Chaperone (Saturday, 5.6.06, 2 p.m.)
Marquis Theatre (Broadway)
Starring: Bob Martin (Man in Chair), Georgia Engel (Mrs. Tottendale), Edward Hibbert (Underling), Troy Britton Johnson (Robert Martin), Eddie Korbich (George), Lenny Wolfe (Feldzieg), Jennifer Smith (Kitty), Jason Kravits (Gangster #1), Garth Kravits (Gangster #2), Danny Burstein (Aldolpho), Sutton Foster (Janet Van De Graaff), Beth Leavel (The Drowsy Chaperone), Kecia Lewis-Evans (Trix), Joey Sorge (Super)
The Drowsy Chaperone starts with a voice in a darkened theatre. The Man in Chair, which is the only way in which he is known, begins his narration with a humorous monologue on what might go through your head just as the lights dim at the theatre. It’s humorous, it’s fun, and it’s pretty much true.
When the lights finally come up, we are in Man in Chair’s apartment, a humble setting that soon becomes the scene for the remainder of the show. Man in Chair then puts on the record, and sets the scene of “The Drowsy Chaperone,” his favorite musical from 1928; a light, frothy confection which, despite its flaws, has the power to take him away. What follows is a delightful romp; a smartly written show-within-a-show which looks and sounds like the frothy shows of the 1920s, but has enough humor and double entendre to be enjoyed at this day and age. But what really makes it work is the way the show is framed by Man in Chair’s commentary, which not only helps elaborate on the story (and point out the flaws, not that they do not themselves stand out), but which also gives background on the fictitious actors and even, at times, of Man in Chair’s own life.
I'm often not a big fan of shows that are so "self aware" of themselves as shows, but this one is truly delightful, a light confection without a serious note in its entire body. I suspect that a frequent theatre-goer will enjoy it as much as a total theatre novice not accustomed to musical theatre. Man in Chair clearly relishes the show-within-a-show’s ability to transport him away, but he never takes the things that go on in the show itself too seriously.
Of course, what also helps considerably are the tremendous performances given by the amazing core of actors. Led by Sutton Foster’s remarkably versatile comedic turn and Beth Leavel’s absolutely hilarious turn as in the title role, the show-within-a-show is a comedic delight. Rounding out the cast nicely are Troy Britton Johnson’s magnetic Robert Martin and Danny Burstein’s side-splitting Aldolpho.
But anchoring the whole show, of course, is co-writer Bob Martin as Man in Chair. Martin is tremendous – humorous, poignant – a success on many levels. His role is critical to this show’s success, since it is only with the show-within-a-store framework that allows the piece to work. This gem of a show is a surprising delight. It won't change your life or even cause you to think twice, but it's a heck of a good time while you're there watching it.
Tuesday, May 16, 2006
Friday, May 5, 2006
Review-Jersey Boys (5.2.06)
Jersey Boys (Tuesday, 5.2.06, 7:00 p.m.)
August Wilson Theatre (Broadway)
Starring: John Lloyd Young (Frankie Valli), Christian Hoff (Tommy DeVito), Daniel Reichard (Bob Gaudio), J. Robert Spencer (Nick Massi)
Season after season, creators have been attempting to craft tributes to various musical performers by creating a Broadway show out of their catalog of songs. For the most part, these efforts have been an abysmal failure. This season has seen no less than three such attempts crash and burn – Lennon, Ring of Fire (Johnny Cash) and Hot Feet (Earth, Wind & Fire), and seasons past have seen many more. Perhaps inspired by the success of Mamma Mia! (which for me has remained the only satisfying jukebox venture), these would-be creators persist, searching for that right combination of story and song.
Perhaps we should tip our hats, then, to all of these failed efforts, as it appears they have finally culminated in a truly enriched, theatrical piece which succeeds both as a tribute to its musical creator and as a satisfying theatrical experience all on its own. “Jersey Boys” is at once a celebration of the music of Frankie Valli and the Four Seasons, but even more so, it is a compelling portrait of their rise to fame and an emotionally satisfying and entertaining piece. Des McAnuff’s fast-paced direction, reminiscent of his work in the first act of Tommy, is relentless, but with the snippets of recognizable music and a smooth narrative, it is never too much too fast. It is a joy-ride from start to finish.
Which is not to say that it glosses over the more difficult aspects of Valli’s story, and in fact it is in allowing the story to be told from so many different perspectives that it becomes a rich experience. Each of the characters becomes a true character, and not just a mouthpiece for delivering the catchy music. All four men playing the "original" Seasons – John Lloyd Young, Christian Hoff, Daniel Reichard and J. Robert Spencer are uniformly excellent. Each man reveals his character's flaws, but each also shows how his was a necessary contribution to the success of this famous group.
John Lloyd Young’s nasal, high-pitched falsettos are remarkable, and his covers of Valli’s famous anthems and songs are extremely entertaining. But what is more impressive is how he inhabits the character, from his discovery as a 15-year-old boy to a 40-something leader who becomes his own man and takes charge of his life and the group. Young’s acting and musical ability make it his the standout musical performance of the season, and he should be rewarded come Tony time.
Daniel Reichard brings his smooth-crooning and good looks to the part of Bob Gaudio, a would-be one-hit wonder who finds his voice writing for Valli. Gaudio is the kind of character who would ordinarily blend in the background, but Reichard makes sure that Gaudio's combination of ambition and talent ensure that he will remain in the forefront. Although Gaudio eventually gets his wish to stop performing and to focus on his writing and producing, he takes pleasure in knowing just how important he has been to making the Four Seasons’ success possible. Reichard captures this sense of satisfaction, and makes him out to be an all-around good guy.
Christian Hoff has perhaps the most difficult story to tell, because Tommy DeVito’s character is more difficult to sympathize with. But Hoff is terrific from the opening notes of the show through the end. Rounding out the quartet quite nicely is J. Robert Spencer, whose turn as the ordinarily quiet Nick Massu who knows how to lash out and eventually abandons the group, is deep and satisfying.
The book is exceptionally well-put together and thought out. It is filled with plenty of silly and even corny one-liners. But in the context of the show, everything works. It also is remarkably successful in its more dramatic moments, including a pivotal act two scene involving Frankie’s daughter. What the creators have considered is how best to use the music – sometimes it is just presented as numbers (such as cataloging the group’s early hits), other times it is used to further the story thematically, and still other times it is a combination of the two (such as the use of the reprise of “Walk Like a Man” by the group to confront Tommy at the end of Act I. This flexibility allows the music to be used for maximum effect. It has been a long and difficult road, but the creators of Jersey Boys prove that it is possible to use a catalog of pop music and successfully create a moving and complete theatrical experience. Jersey Boys stands up as easily the best new musical of the season, and one of the more satisfying experience of the past several years.
August Wilson Theatre (Broadway)
Starring: John Lloyd Young (Frankie Valli), Christian Hoff (Tommy DeVito), Daniel Reichard (Bob Gaudio), J. Robert Spencer (Nick Massi)
Season after season, creators have been attempting to craft tributes to various musical performers by creating a Broadway show out of their catalog of songs. For the most part, these efforts have been an abysmal failure. This season has seen no less than three such attempts crash and burn – Lennon, Ring of Fire (Johnny Cash) and Hot Feet (Earth, Wind & Fire), and seasons past have seen many more. Perhaps inspired by the success of Mamma Mia! (which for me has remained the only satisfying jukebox venture), these would-be creators persist, searching for that right combination of story and song.
Perhaps we should tip our hats, then, to all of these failed efforts, as it appears they have finally culminated in a truly enriched, theatrical piece which succeeds both as a tribute to its musical creator and as a satisfying theatrical experience all on its own. “Jersey Boys” is at once a celebration of the music of Frankie Valli and the Four Seasons, but even more so, it is a compelling portrait of their rise to fame and an emotionally satisfying and entertaining piece. Des McAnuff’s fast-paced direction, reminiscent of his work in the first act of Tommy, is relentless, but with the snippets of recognizable music and a smooth narrative, it is never too much too fast. It is a joy-ride from start to finish.
Which is not to say that it glosses over the more difficult aspects of Valli’s story, and in fact it is in allowing the story to be told from so many different perspectives that it becomes a rich experience. Each of the characters becomes a true character, and not just a mouthpiece for delivering the catchy music. All four men playing the "original" Seasons – John Lloyd Young, Christian Hoff, Daniel Reichard and J. Robert Spencer are uniformly excellent. Each man reveals his character's flaws, but each also shows how his was a necessary contribution to the success of this famous group.
John Lloyd Young’s nasal, high-pitched falsettos are remarkable, and his covers of Valli’s famous anthems and songs are extremely entertaining. But what is more impressive is how he inhabits the character, from his discovery as a 15-year-old boy to a 40-something leader who becomes his own man and takes charge of his life and the group. Young’s acting and musical ability make it his the standout musical performance of the season, and he should be rewarded come Tony time.
Daniel Reichard brings his smooth-crooning and good looks to the part of Bob Gaudio, a would-be one-hit wonder who finds his voice writing for Valli. Gaudio is the kind of character who would ordinarily blend in the background, but Reichard makes sure that Gaudio's combination of ambition and talent ensure that he will remain in the forefront. Although Gaudio eventually gets his wish to stop performing and to focus on his writing and producing, he takes pleasure in knowing just how important he has been to making the Four Seasons’ success possible. Reichard captures this sense of satisfaction, and makes him out to be an all-around good guy.
Christian Hoff has perhaps the most difficult story to tell, because Tommy DeVito’s character is more difficult to sympathize with. But Hoff is terrific from the opening notes of the show through the end. Rounding out the quartet quite nicely is J. Robert Spencer, whose turn as the ordinarily quiet Nick Massu who knows how to lash out and eventually abandons the group, is deep and satisfying.
The book is exceptionally well-put together and thought out. It is filled with plenty of silly and even corny one-liners. But in the context of the show, everything works. It also is remarkably successful in its more dramatic moments, including a pivotal act two scene involving Frankie’s daughter. What the creators have considered is how best to use the music – sometimes it is just presented as numbers (such as cataloging the group’s early hits), other times it is used to further the story thematically, and still other times it is a combination of the two (such as the use of the reprise of “Walk Like a Man” by the group to confront Tommy at the end of Act I. This flexibility allows the music to be used for maximum effect. It has been a long and difficult road, but the creators of Jersey Boys prove that it is possible to use a catalog of pop music and successfully create a moving and complete theatrical experience. Jersey Boys stands up as easily the best new musical of the season, and one of the more satisfying experience of the past several years.
Subscribe to:
Posts (Atom)