Review-Spring Awakening (9.25.07)

Spring Awakening (Tuesday, 9.25.07, 7 p.m.)
Eugene O'Neill Theatre, New York, NY

By: Duncan Shiek (music), Steven Sater (book, lyrics), Michael Mayer (direction)

Starring: Jonathan Groff (Melchior), Lea Michele (Wendla), John Gallagher, Jr. (Moritz), Lauren Pritchard (Ilse), Lilli Cooper (Martha), Eryn Murman (Anna), Remy Zaken (Thea), Brian Charles Johnson (Otto), Jonathan B. Wright (Hanschen), Gerard Canonico (u, Georg), Blake Daniel (Ernst), Stephen Spinella (adult men), Christine Estabrook (adult women), Matt Doyle (ensemble), Jesse Swenson (s, ensemble), Alexandra Socha, Jennifer Damiano

Nine months, eight Tony Awards, and several millions of dollars since its arrival on Broadway last December, Spring Awakening retains its sparkle as one of the most exquisitely constructed musicals on the Great White Way. Blessed with a gorgeous score, a compelling story, innovative staging, and a stellar young cast, Spring Awakening is simply sublime. It is poignant, it is funny, it is dramatic, it is conflicted – in short, it is all of the things that mark adolescence and the coming of age.

The show’s three principals remain unchanged, and they are spectacular studies in contrast. Jonathan Groff, as the rebellious Melchior is spell-binding – he is brash, he is smart, he is sexy – all the things you would expect in the lead protagonist. But even if he is a leader, he is not infallible, and that is what makes his character so compelling at the heart of the show. He makes mistakes – serious mistakes – and the consequences are dire for his friends. But he also remains true to them, and to their memory. Groff excels whether he is belting “Totally Fucked” or gently serenading his best friend’s memory in the tear-inducing “Left Behind.”

On the other side is Lea Michele’s breathtakingly beautiful rendition of Wendla, the smart yet naïve girl who falls under Melchior’s spell. Michele starts the show as a wide-eyed girl, but the darkness of her surroundings and of the circumstances to which she is exposed slowly consume her. By the end of her second act number “Whispering,” she indeed has blossomed into a gorgeous, yet dark, young woman. Her appearance in the penultimate graveyard scene is pure power.

And of course, not enough can be said about John Gallagher, Jr.’s phenomenal turn as Moritz. Gallagher’s every movement, every note, every word uttered, are absolutely heart-wrenching. It is the small moments that make his characterization so powerful – the gentle breakdown in front of his father, the poignant exchanges with Ilsa – even the gentle touch on the shoulder of his best friend Melchior. Gallagher is sensational, and his character is the heart of the show. Absolutely breathtaking.

The three principals aside, this is truly an ensemble show, and each actor, from the supporting characters, to the sensational and multi-faceted Christine Estabrook and Stephen Spinella, to the members of the ensemble, contribute to making Spring Awakening so beautiful to watch and to listen to. It is telling that the final number, “Purple Summer” – which is really just a coda, is so powerful, as it involves the whole cast setting forth the theme of the show. Armed with Duncan Shiek’s melodious score, Steven Sater’s smart lyrics, and the design team’s sensitive design, this show is a highlight, and one of the best, most innovative shows to hit Broadway in some time.

Review-Legally Blonde (9.9.07)

Legally Blonde (Sunday, 9.9.07)
Palace Theatre, New York, NY

By: Laurence O’Keefe and Nell Benjamin (music and lyrics), Heather Hach (book), Jerry Mitchell (direction and choreography), David Rockwell (scenic design), Gregg Barnes (costume design), Ken Posner & Paul Miller (lighting design), David Brian Brown (hair design)

Starring: Laura Bell Bundy (Elle Woods), Noah Weisberg (u/s Emmett Forrest), Orfeh (Paulette), Michael Rupert (Professor Callahan), Richard H. Blake (Warner Huntington III), Kate Shindle (Vivienne Kensington), Nikki Snelson (Shandi/Brooke Wyndham)

A young, vibrant cast, bright colors, chipper music and lots of light hearted jokes – it should all add up to a really good time. Well, most of the elements for Legally Blonde seem to be in place – it has a young and wide-eyed cast and a talented leading lady in the form of Laura Bell Bundy, it boasts bright and unidimensional sets and costumes by David Rockwell, and fun choreography by Jerry Mitchell. The show packs in the well-known plot, and even adds its own few twists along the way. Constructed by veterans, this show would seem to have all the elements for a highly successful hit show.

In the end, there is a lot to enjoy in Legally Blonde, and especially after having a drink during intermission, it zips along. That said, there is something rather labored about the whole effort. Especially after watching the effortless humor of Xanadu, Legally Blonde just seems to be trying a little too hard. The kids dance well and jump around the stage, the actors belt out their songs – yet that element is missing.

Another problem with the show is the score. Although it is bright and light, aside from “Omigod You Guys” it is unmemorable. And the lyrics are all over the place. Some of them are clever and cute, others not so much so. The “gay or European” line in the big courtroom scene gets tired quickly (it works as a one-liner, but not as a whole song), while Paulette’s big act one number “Ireland” is absolutely puzzling.

Not enough time is spent on developing character. Elle proves to be a little one-note, but at least she is memorable and the center of attention throughout the show. All the other characters are extremely one-dimensional – even Emmett is a little bland. Paulette, the other “fun” character is a little schizophrenic. In the film, Paulette was unsure of herself, and it was Elle who helped bring her out of her shell. In this show, Paulette may be a little sad, but she’s anything but unsure of herself. As Orfeh belts out her songs, she sounds confident. Sure it’s fun, but in terms of developing character, it doesn’t make any sense.

Others are simply not utilized well. Michael Rupert, a very talented actor, doesn’t have much to work with. Richard Blake, who has the unenviable task of playing the unsympathetic Warner Huntington III, and he does very little to develop the character. And Kate Shindle belts nicely, but her Vivienne is completely one-noted. Surprisingly, it is Nikki Snelson as Brooke Wyndham who registers a little range, but she has so little stage time it barely matters.

Which brings me to Laura Bell Bundy, who is just fine as Elle. Sure, she lacks the nuance and magnetism of Reese Witherspoon, but she is the one actor on stage who seems totally at ease with her character. She actually fares better in the moments when she gets to be more serious (though she is fun when she’s being bubbly), but it is the ease with which she moves from lines to songs to dancing that is so impressive. Anchored by her performance, she carries the show a long way.

In the end, the show works, and the audience seemed appreciative. But compared to other recent musical comedies – The Producers and Spamalot to name but two – it just seems that it shouldn’t be so hard. Perhaps if the creators and actors tried a little less hard, the show would be all that much more at ease with itself, and become a true achievement in musical comedy. For now, it is a decent and competent show, but simply not one that is memorable in any real way.

Review-Xanadu (9.9.07)

Xanadu (Sunday, 9.9.07, 3 p.m.)
Helen Hayes Theatre, New York, NY

By: Douglas Carter Beane (book), Jeff Lynne & John Farrar (music and lyrics), David Gallo (scenic design), Howell Binkley (lighting design), David Zinn (costume design), T. Richard Fitzgerald, Carl Casella (sound design), Zachary Borovay (projection design), Charles G. LaPointe (wige and hair design); Christopher Ashley (direction)

Starring: Kerry Butler (Clio/Kira), Cheyenne Jackson (Sonny Malone), Tony Roberts (Danny Maguire, Zeus), Curtis Holbrook, Anika Larsen, Patti Murin (standby), Mary Testa, Jackie Hoffman, Andre Ward, Ryan Watkinson

Xanadu is effortlessly likeable. The actors are cute and bubbly, the songs recognizaable, and the premise and plot light. There is no reason to think about what is going on, no reason to guess whether there is a second meaning. Even the cultural references are easy on the brain.

The sum of all these parts is a really enjoyable evening. Douglas Carter Beane’s book is light-hearted and fun. While everything is light and it doesn’t take itself too seriously, it also doesn’t try to be too campy and too self-parodying. And that’s what makes it work – it doesn’t try too hard.

What also works here is the cast, which takes the same approach to the material as Carter Beane. Kerry Butler is simply luminous and perfectly cast as Clio. Although you can tell she is not totally at ease on her rollerskates, nevertheless, she is a light a delicate presence. She of course sings beautifully, but also manages to wring a so much humor out of every word spoken, every note sung, and every little gesture. She has the audience wrapped around her little finger from the opening moments show, and the audience never lets her go.

Matching Butler in spirit is Cheyenne Jackson’s wide-eyed Sonny Malone. Jackson comes across as well-meaning and open-hearted. He is imminently likeable as well, and when he gets the chance, he demonstrates his tremendous set of pipes. Although the part of Sonny isn’t as comicly showy as that of Clio/Kira, he is still a focus of attention. Jackson has good chemistry with Butler, which makes their constant appearance on stage together all the more rewarding.

Tony Roberts fills out the principals as Danny Maguire and Zeus, and lends a nice “straight” presence to the otherwise fanciful and silly proceedings. Roberts has a natural style about him, not overly self-conscious, but also lacking any arrogance. That he doesn’t dance is not a real problem, although given that every other actor on stage at least moves to the music, Roberts’ stiffness is rather noticeable.

Of the other muses, it is Mary Testa and Jackie Hoffman who threaten to upstage Kira and Sonny. Testa is, as usual, her big-brassed self, and her facial expressions are wonderful to watch. She is well-paired with Hoffman, who is delightful as her side-kick, and who in the latter part of the show also makes an appearance as Athena, delivering just a few lines in such an outrageous Greek accent that she almost stops the show. Testa and Hoffman are a sheer delight, and they embody the hapless spirit of the show.

Xanadu is real delight – and while it is so light that I almost wonder if I’ll remember it by tomorrow -- that's really okay. Today, at least, I can recognize fun when I see it.

Review-Rent (9.8.07)

Rent (Saturday, 9.8.07)
Nederlander Theatre, New York, NY

By: Jonathan Larsen (book, music & lyrics), Michael Greif (direction), Paul Clay (sets), Angela Wendt (costumes), Blake Burba (lighting), Kurt Fischer (sound)

Starring: Adam Pascal (Roger), Anthony Rapp (Mark Cohen), Tamyra Gray (Mimi), Troy Horne (Tom Collins), Justin Johnston (Angel Schunard), D’Monroe (Benjamin Coffin III), Nicolette Hart (Maureen Johnson), Maia Nkenge Wilson (Joanne Jefferson)

When they appeared in the film version of “Rent,” Adam Pascal and Anthony Rapp came across as bland, tired and too old for their roles. Although enthusiasts liked that the original creators of the roles were cast in the movie, I was disappointed. It was a poorly directed film, and neither actor seemed properly cast for the screen.

So it was trepidation that I greeted the news that the two would return, after more than 10 years, to the original Broadway production. Over the years, I have been impressed with the parade of actors (some stunt casting aside) that have been chosen to inhabit these roles – the casting directors have chosen actors that most embody the youth and rawness that Pascal and Rapp brought to the original production. But after their tired performances on screen, I wondered whether or not these two actors had lost it, or at least had outgrown these parts.

Well, I needn’t have feared, for while these performances clearly are not the same performances delivered ten years ago, they are terrific nonetheless, layered and nuanced in a way that was simply not evident on the screen. It goes to show that film acting and live stage acting are not the same thing. These two demonstrate why they own the roles of Roger and Mark, why even after all of these years they seem to understand and embody the characters in a way that nobody else since has. To watch them onstage is to be captivated by the spirit of a remarkable piece of theatre that speaks to our generation in a way that no other musical does.

Adam Pascal is the magnetic center. In person, he doesn’t look a day older than he did when he was first in the show, and he still delivers his powerful rock tenor, which effortlessly cuts through the expanse that is the Nederlander Theatre. He doesn’t use it all the time – in fact, I was impressed by the degree to which he used more subtle vocalisms, particularly in the more tender moments such as “Without You.” But when he lets go full throttle – “One Song,” “Another Day” and the end of “In Your Eyes” -- it is a remarkable effect that cuts emotionally through everything.

This is not to say that Pascal's performance today is that same as his performance in 1996. Today's Pascal comes across as a little less raw and a little more knowing than when he was first in the show, and he manages to find a great deal of humor in the role, particularly in the first act. But in the second act, particularly after Angel’s death, Pascal’s Roger is troubled, emotional, and conflicted. It is a beautiful performance, understated at times, conflicted at times, and emotionally turbulent at times. As Rent is an emotional journey of a show, Pascal's performance is perfectly pitched to match the spirit of the piece.

Anthony Rapp is less magnetic than Pascal, though part of that is by design, since Mark is an observer. Rapp seems older and less energetic and more affected by what’s going on around him than other actors who have come later, and his more down-to-earth quality is welcome. Though other actors sing better than Rapp, few have been able to capture the observer quality quite like he does. Particularly given his chemistry with the magnetic Roger, Rapp’s return is welcome.

Joining the two veterans is a relative newcomer, Tamyra Gray, as Mimi. Gray is simply terrific. Though she doesn’t dance or move with the same ease as other Mimi’s, she sings the role perfectly, and her thin frail body often shakes with disease and heroine addiction that we know her character has suffered. She has great chemistry with Pascal, and when the two of them sing together, it is magical. She brings to mind the energy that Daphne Rubin-Vega originally brought to the role, and while she doesn’t quite scale those emotional heights, she is terrific nonetheless.

The remainder of the cast is very good. Troy Horne and Justin Johnston are well-paired as Collins and Angel, the former bringing a compelling emotional quality and Johnston dancing around the stage like only a true Queen with a capital "Q" can. The two together have great chemistry, and at times they manage to pull the attention away from Roger and Mimi – no small feat given the tremendous performances by Pascal and Gray. Johnston gets the most laughs, and makes his way through the difficult “Today 4U” number. And while he is not as natural as others in the role, he navigates the difficult second act well.

The let-down in the cast is the pairing of Nicolette Hart and Maia Nkenge Wilson as Maureen and Joanne. This is not to say that they are not passable or even solid in the roles, but they seem a bit off and are not quite believable as a couple. Hart is funny in “Over the Moon”, but her unusual upper range suffers when she gets to the more emotionally charged “Take Me or Leave Me.” Wilson fares better vocally as Joanne, but missing is the sexiness that other actresses have brought to the role.

The current ensemble is also a bit weak vocally, though in the end there are no major gaps. In fact, this Rent seems a little thinner both in terms of its sound and look. I almost was under the impression that there were fewer actors on stage, though it could just be that the lack of vocal power had a psychological effect on the viewing. Some bigger voices in the ensemble might help to keep things going at full throttle.

In the end, though, revisiting this classic with two of the key members of the original cast helps us remember Jonathan Larsen, the creator of this masterpiece who prematurely left us. It is almost as if Pascal and Rapp, who actually had the opportunity to work with Larsen on the show before his untimely passing, are channeling him, and reminding us all of the tremendous contribution that this man made to the history of musical theatre in such a short time. It is very sad to think of all the great works that he never had the opportunity to create – but at least we are left with this gem, that is Rent.

Review-Gypsy (7.14.07)

Gypsy (Saturday, 7.14.07)
New York City Center, New York, NY

By: Jule Styne (music), Stephen Sondheim (lyrics), Arthur Laurents (book), Jerome Robbins (original direction and choreography), Arthur Laurents (direction)

Starring: Patti LuPone (Rose), Boyd Gaines (Herbie), Laura Benanti (Louise), Leigh Ann Larkin (June), Tony Yazbeck (Tulsa), Marilyn Caskey (Electra), Alison Fraser (Tessie Tura), Nancy Opel (Mazeppa)

The premise of the new musical series at City Center is to give actors a chance to play the roles they were “born to play.” If ever there seemed to be an actor born to play a role, it is Patti LuPone in the role of Mama Rose in Gypsy. If this is the kind of result that we can expect from the City Center's new series, then we are in for a real treat. Because LuPone is here, boys, and boy does she tackle Mama Rose with gusto. We always knew that LuPone had the pipes to sing the signature songs, but performance is more than just belting a few tunes – she wraps herself around each lyric, note and line. It almost doesn’t matter who is on stage with her – if this Mama wants something, she gets it.

And yet, what is remarkable about her performance is that LuPone shows remarkable emotional nuance. In fact, this Mama Rose is Rose on the edge – her pathology is just a symptom of her emotional fragility, her regret at having been unable to do something she wanted to do, and her desperation to make her daughters in her own image. If Merman brought gusto and Peters brought sexiness, then this Mama Rose brings it all. Her breakdown in Rose’s Turn is not only powerful, it is emotionally raw. And remarkable to listen to and watch.

Given LuPone's powerhouse performance, it almost doesn't matter what else is going on around her. But in this case, it doesn’t hurt that there are also some other terrific performers to help her tell the story. Boyd Gaines, the multi-Tony Award-winning actor who has demonstrated tremendous range in both dramas and musicals, manages to match LuPone note for note. Gaines sings well, but mostly it is his acting presence as the doormat that is Herbie that is of note. When Gaines lashes out and leaves, it is a truly powerful moment, and I have never seen another actor bring quite such focused emotional power to the role of Herbie.

As Louise, Laura Benanti gives a mixed performance that shows the difficulty of having play a character over years during a formative period. Benanti is clearly too old to play the young tomboy that is Louise – she looks ridiculous in her pigtails, and sitting through “Little Lamb” – always a weak number anyway – is dreadful and painful. So it comes as great relief when Benanti is finally able to shed her pants, put on a dress, and strip. As a stripper and an adult woman, she is completely believable -- stunning in fact -- and her “transformation” such as it were is thus absolutely lovely. But it just takes her a long time to get there, and I wished to be a little less enthusiastic about when she "arrives" as a burlesque queen.

The other standouts are the stripping trio, Marilyn Caskey, Alison Fraser and Nancy Opel as Electra, Tessie Tura and Mazeppa. The three are hilarious, and what I especially appreciated was that their performances were not typical. The three are absolutely sensational, employing subtlety as much as relying on the witty lyrics and outrageous costumes. They are terrific.

The point of the City Center’s series is to give actors a chance to play roles, both because it pairs the actors with the show, and also because it involves relatively limited runs that permit the actors to commit for the entire run of a show – something that is not always possible with a full-scale Broadway production. The downside to this, of course, is that the production values of the "full-scale" productions are greatly diminished. Here, Arthur Laurents' direction of the production is, commensurate with the series' purposes, quite thin. He clearly relies on prior gimmicks from previous productions, and otherwise simply lets the actors do what they will. He hasn’t so much directed the production as presented it, and as a result it comes across as rather stilted. Similarly, the other production values are passable, but unmemorable, from the spare and rickety sets to the unflattering costumes. Thought it seems unlikely, I have to admit it would be interesting to see LuPone and company tackle a real, full scale production. LuPone's performance here certainly has -- and should -- spark the interest for it.

Review-Old Acquaintance (7.12.07)

Old Acquaintance (Thursday, 7.12.07)
American Airlines Theatre, New York, NY

By: John van Druten (playwright), Michael Wilson (direction), Alexander Dodge (set design), David C. Woolard (costume design), Rui Rita (lighting design)

Starring: Margaret Colin (Katherine Markham), Corey Stoll (Rudd Kendall), Diane Davis (Deirdre Drake), Gordana Rashovich (Karina), Harriet Harris (Mildred Watson Drake), Cynthia Darlow (Susan), Stephen Bogardus (Preston Drake)

Two old female friends and rivals get together and the drama plays out between them. One could almost imagine such a play between two male rivals, although surely it would not be so caddy.

As much as I admire older shows, sitting through this production, I had a difficult time coming up with a compelling reason to revive this particular show. As a play, it is rather staid and uninteresting. The premise is flat, and development of the plot is predictable, and the characters are, even when developed, rather uninteresting. What the play does seem to provide, I will admit, is an opportunity for two actors to have lots of stage time, often with showy speeches and exchanges. It would appear to be a vehicle to showcase some good acting, which I suppose is part of the Roundabout formula for revivals. The real purpose here is to provide Margaret Colin and Harriet Harris with that opportunity to showcase their talents, via the plethora of comic moments and some emotionally showy exchanges.

Harris gets the better of the play in this regard, although this is at least in part because she has the showier part. She is a comic genius, really, and she does not disappoint, whether it is in her total breakdowns or in her playful banter. Margaret Colin is also good, but she has a more difficult task because her character is the “straight” one – although she has led an interesting life to be sure.

Even as a vehicle for stars, however, the piece tends to fall flat. Even though Katherine and Mildred seem to have time to go at it, in fact, the results of their banter are of little interest to anyone. I don't believe this is the fault of the actors, I believe it is the defect in the work itself.

From a design standpoint, this production also provides a tremendous opportunity for set design. It's rare, particularly in a play, that the scenery gets its own applause, but such is the case at the opening of the second act, when the curtain lifts to reveal a colorful, playful, and over-the-top home of the colorful and over-the-top Mildred. It is a spectacular set, to be sure, though part of me wonders whether the applause was simply a symptom of a desperate audience trying to find something to be happy about while watching this play.

Review-10 Million Miles (7.5.07)

10 Million Miles (Thursday, 7.5.07)
Linda Gross Theatre (Atlantic Theatre Company), New York, NY

By: Patty Griffin (music, lyrics), Keith Bunin (book)
Starring: Matthew Morrison (Duane), Irene Molloy (Molly), Mare Winningham (The Women), Skipp Sudduth (The Men)

Let's start by saying this is no Spring Awakening.

This is not to say that the Atlantic Theatre has tried to say it is, and the show itself couldn't be further away from the concept of that show. But many reviewers have talked about Spring Awakening, since that was last summer's big hit at the Atlantic, which then transferred to Broadway and won a gaggle of Tony Awards. It's rather unfair, it would seem, to try and compare 10 Million Miles to that show.

Which is not to say that 10 Million Miles is not an enjoyable show. In fact, I found it quite entertaining within its confines.

Okay, so the story line is not particularly strong, and like most jukebox musicals, the show suffers now and then because individual songs (or parts of songs) don't quite fit where they've been placed. But this is not a show that is supposed to be plot-heavy, and I have to say, it captures the mood and essence of Patty Griffin's music perfectly. It is introspective without being overly dramatic, accepting of defeat and drudgery (country misery) in an almost matter-of-fact way. And I have to say, I thoroughly enjoyed listening to these renditions of Ms. Griffin's songs. I found the show nothing short of refreshing, and thought it achieved theatricality without the conventional melodrama that musical theatre tends to have.

The four-member cast is impressive all around. Mare Winningham is absolutely brilliant. She switches easily from character to character seamlessly. She is a surprisingly talented singer, wrapping her voice around both note and character. What is particularly impressive is how quickly she manages to capture character within minutes. I rather felt like I was watching at least three or four different actresses play her parts. She is that good. Skipp Sudduth also does some nice work, not quite as chameleon-like as Winningham, but still engaging, especially as Duane’s army buddy.

As for the two leads, it would be hard to imagine a better coupling than Matthew Morrison and Irene Molloy. Morrison is thoroughly engaging, humorous throughout in both manner and movement, but also showing glimpses of character beneath. He is sexy and magnetic at times, infuriating and off-putting at others, and captured the Duane character brilliantly. Irene Molloy was much cooler, and at first is a bit off-putting. But over the course of the show, she really builds. More critically, her kind of complacency -- even just shrugging off Duane's completely unacceptable behavior toward her -- was surprisingly touching, and was probably the only way to make what happens next believable. When she breaks down momentarily with her Aunt, it is a very touching moment. So much of these characters is understated. It fit in perfectly with the country-inspired style of the music.

Reviewers have noted a lack of chemistry between the Morrison and Molloy, but I disagree. I think there was an intentional building of a wall between the two, representing their ambivalence about their relationship. Their entire relationship is supposed to be filled with doubt. Molloy's constant pulling away and reluctance to be intimate, juxtaposed with the occasional heavy kiss or display of affection, was entirely believable.

The show has a number of obvious flaws, but I found it quite compelling nonetheless. I have to say I found it far more enjoyable than a number of musicals on Broadway this past season. Whatever its faults, it is nice to see this type of work produced on stage. We can only hope that the Atlantic and other companies will continue to present such works.

Review-Company (7.1.07)

Company (Sunday, July 1, 2007, 3 p.m.)
Barrymore Theatre, New York, NY

By: Stephen Sondheim (music, lyrics), George Furth (book), John Doyle (direction)

Starring: Raul Esparza (Robert), Barbara Walsh (Joanne), Keith Buterbaugh (Harry), Matt Castle (Peter), Robert Cunningham (Paul), Angel Desai (Marta), Kelly Jeanne Grant (Kathy), Kristin Huffman (Sarah), Amy Justman (Susan), Heather Laws (Amy), Leenya Rideout (Jenny), Fred Rose (David), Bruce Sabath (Larry), Elizabeth Stanley (April)

It is difficult to comprehend why this production of Company did not catch on. It is brilliantly theatrical, innovative, humorous, passionate, and boasts some of the most stunning performances of the season. The production is anchored by an absolutely brilliant star turn, but is also supported with a fine company of supporting players, many of them making their Broadway debuts. And the music – it is an absolutely amazing score, and it couldn’t be sung better. There is so much that just seems right about Broadway when sitting through this, the final performance of one of the most brilliant productions to reach Broadway in years, and to my mind the finest of the season.

Given that this was the final performance, the sell-out audience was extremely enthusiastic. When Raul Esparza first walked on to the stage, there was thunderous applause. Indeed, there was thunderous applause at many points throughout the show, and several numbers, even those that are ordinarily well-received, were recognized with sustained breaks. It was a love-fest all around, and there was something particularly touching about witnessing the outpouring of affection by this audience for the cast.

But this recognition and applause was not gratuitous, it was earned, not just by the past seven months of performances (often to half-empty houses), but rather through an absolutely fine performance that captured every possible nuance and inflection in the overlooked book. Every line, every word, every note seemed to pop and glisten. And every supporting player seemed to be “on.”

I have always felt that notwithstanding that this show centers around Bobby, it requires an absolute stellar supporting cast to make it work. Bobby’s life is not about him, it is about his existence among his friends. Here is where I think this production excels above all others – it’s cast is uniformly excellent without drawing the focus of attention away from Bobby. It is all the more impressive because the actors play the instruments (and play it well) – but even without Doyle’s gimick, I believe this cast was absolutely perfect. It is difficult to single out individuals members of the company, but certainly Heather Laws, Kristin Huffman, Elizabeth Stanley, and Keith Buterbaugh have some of the more memorable moments, but, really, each and every actor is brilliant. Barbara Walsh – her deadpan timing and her amazing ability to reveal her vulnerabilities through a facade – is sensational, and she tore up the theatre with her rendition of “The Ladies Who Lunch.” And what delightful performances by Elizabeth Stanley, Angel Desai, and Kelly Jeanne Grant.

Of course, it is difficult to say more about Raul Esparza, who delivers the performance that now must be regarded as defining the role of Bobby. Esparza is handsome and charismatic, and yet he somehow recedes into the background. His Bobby is a true observer, yet because of his presence, everyone still wants to include him. And yet even when he is observing, he is the focus of our thoughts. And, of course, when he opens his mouth and delivers that throaty baritone, well, it just doesn’t get much better than that. He manages to make “Marry Me A Little” work in the context of the show, and “Being Alive” is simply explosive and cathartic. The spontaneous standing ovation after “Being Alive” felt like a natural culmination of all the years that the character of Bobby has gone through, and that Esparza no doubt went through with the role.

Everything about this Company glistens, and it’s the rare theatrical experience about which I will probably talk for the rest of my life. Particularly after seeing the staid production of Grey Gardens playing just a block away, this Company was a welcome theatrical relief. Every theatre-goer who was able to witness it live should be thankful. This is what live theatre is all about, and this is why we love it. Add 'em up Bobby.

Review-Grey Gardens (6.30.07)

Grey Gardens (Saturday, 6.30.07)
Walter Kerr Theatre, New York, NY

By: Doug Wright (book), Scott Frankel (music), Michael Korie (lyrics), Michael Greif (direction), Jeff Calhoun (musical staging), Allen Moyer (scenic design), William Ivey Long (costumes), Peter Kaczorowski (lighting), Brian Ronan (sound), Bruce Coughlin (orchestrations)

Starring: Christine Ebersole (“Little” Edie Boulet/Edith Bouvier Beale), Mary Louise Wilson (Edith Bouvier Beale), John McMartin (J.V. “Major Bouvier/Norman Vincent Peale), Matt Cavenaugh (Joseph Patrick Kennedy, Jr./Jerry), Erine Davie (Young “Little” Edit Beale), Kelsey Fowler (Lee Bouvier), Sarah Hyland (Jacqueline Bouvier), Bob Stillman (George Gould Strong), Michael W. Howell (s/b, Brooks, Sr., Brooks, Jr.)

The Maisley documentary about Grey Gardens is fascinating. The knowledge that you are watching real people in a documentary (as opposed to actors playing a part) goes a long way to indulging one's morbid sense of curiosity. Watching it leads to all sorts of questions -- are these people putting on an act? How is is that these ladies got to this point?

Watching the second act of Grey Gardens brings back much of the impression that one gets watching the film, probably because of Christine Ebersole's dead-on impressions of Little Edie. Ebersole has every mannerism, every croon, every uttered word just right. And, of course, she has that glorious vocal instrument through which she delivers the songs, one or two actually quite pretty. Although the effect of the second act is not quite the same as the film because of our consciousness that this is acting rather than actual persons, Ebersole's performance goes a long, long way.

Unfortunately, before we get there, we have to sit through the first act, which one supposes is the creators' attempt to set a background and set-up for the bizarreness that is act two. And here is where Grey Gardens falters. For Act I of Grey Gardens, in stark contrast to Act II, came across to me as being quaint -- pretty in some respects, but in most a bit staid and even uninspiring. Notwithstanding Ms. Ebersole's luminous presence as Big Edie and a script that has significantly more action than in Act II, there is something sorely missing. Although the very opening scene started promisingly (the transition from the opening scene in the 1970s quickly transporting you decades before is stunning), the story that is then told is falls flat. It doesn't help that the very period music is banal, and while the actors attack the material with gusto, I never really felt invested in the characters. Erin Davie is, to be sure, an improvement over Sara Gettelfinger (who starred at Playwright Horizons) as Young Edie, but she never really convinced me. And the thought that this creature would grow to up become Christine Ebersole in Act II? Absolutely unimaginable.

The other problem is that the first act is told in regular exposition (third-person), where the much more compelling second act is in first-person. This juxtaposition of altered perspectives is jarring, and contributes to a feeling of disconnect between the two acts. Perhaps this is why the second act works so much better -- Ebersole is able to spend her time talking directly to the audience, and she is marvelous at this interaction.

Ebersole is, on all fronts, absolutely terrific. She is utterly gorgeous as the elder Edith in the first act, and fascinating as Young Edie in the second act. Her performance is a tour-de-force and the sole reason to see this production. It is difficult to imagine this show without her. The remainder of the show's cast is also quite good. Mary Louise Wilson turns in a nice performance as well, croaking out such oddities as “Jerry Likes My Corn.” She's a nice counterbalance to Little Edie. John McMartin is excellent, providing both humor and drama in his interchanges with Edie, while Bob Stillman sings absolutely beautifully. And Matt Cavenaugh lends some nice moments as Patrick Kennedy and as Jerry, Big Edie's unlikely friend, although his accent is absolutely grating.

All that said, the inclusion of several excellent elements (acting and design) is simply not enough to overcome what I suppose are flaws in the show's book, or perhaps just in its overall structure. In the end, for me, this show is about Ebersole, and that is what I'll remember about the show -- her astonishing performance which deservedly garnered every theatre award imaginable.

Review-Sampaguita (6.20.07)

Sampaguita (Wednesday, 6.20.07, 8 p.m.)
45th Street Theatre, New York, NY

By: Marisa Marquez, Will Warren (direction)

Starring: Robb Hurst, Marisa Marquez

Sampaguita was written by Marisa Marquez, and tells the story of a woman suffering from Lupus. While many of us have heard of Lupus, most of us probably do not understand how debilitating the disease can be, and its incidence is rare enough that most of us also don’t know what it is like to suffer from the disease. The disease apparently also disproportionately affects Asian-Americans, which is why this play is part of the Asian-American Festival.

This two-person play is simple in premise, but a surprising amount happens during the course of the play, which switches between flashbacks to the past and telling the current story. Although the play only has two actors, the two play multiple characters. There is much about the dialogue and storyingtelling that is grounded in this being a story about an Asian-American. Some of this dialogue is humorous, some of it a little strained. Taken as a whole, the story is compelling mostly because of its premise, although I found that some of the storytelling devices employed a bit unbelievable and contrived. The sudden appearance of a family relative who looks exactly like her cousin, for example, may be a storytelling device, but it just comes across as being a little too convenient.

On the more grand scale, though, the show works on an emotional level, because at its heart the show is simply about a husband dealing with the death of his wife. The appearance of her cousin, who closely resembles his dead wife (and who in fact uses his dead wife's passport to enter the country illegally), is rather contrived, but it does provide the opportunity for him to seamlessly revisit those critical moments in his relationship. He also gets the opportunity to think about where he is in his life, and about how he can help this woman, who has been thrust into this circumstance by his mother-in-law's scheme to give him a new wife.

It doesn’t hurt that playright and actress Marquez shows a good deal of facility in switching back and forth between the characters, and her performances are anchored by Robb Hurst, who is terrific. With these solid performances, the play works. The piece is also well-directed, and manages to wring the most from the material and move along with at an easy pace.

The overall design is simple – a few pieces of furniture and some trash – and is appropriate to the material. The lighting design also assists in switching time of day and even between characters. But as with many small plays, this is about the piece and acting. In the end, this show works, notwithstanding its faults.

Review-Curtains (6.12.07)

Curtains (Tuesday, 6.12.07, 7 p.m.)
Al Hirschfeld Theatre, New York, NY

By: Rupert Holmes (book), John Kander (music), Fred Ebb (lyrics), Scott Ellis (direction), Rob Ashford (choreography), William David Brohn (orhestrations)

Starring: David Hyde Pierce (Lieutenant Frank Cioffi), Debra Monk (Carmen Bernstein), Karen Zeimba (Georgia Hendricks), Jason Danieley (Aaron Fox), Jill Paice (Nikki Harris), Edward Hibbert (Christopher Belling), John Bolton (Daryl Grady), Michael X. Martin (Johnny Harmon), Michael McCormick (Oscar Shapiro), Noah Racey (Bobby Pepper), Ernie Sabella (Sidney Bernstein), Megan Sikora (Bambi Bernet)

Fresh off his Tony win for best actor in a musical, David Hyde Pierce was greeted with warm applause in his first entrance in the show Curtains. As Detective Cioffi, a policeman in charge of investigating a homicide but also unable to disguise his love for the theatre, Pierce is engaging, warm and humorous. He delivers a delightful performance, to be sure, and banks on his likeability. It is not a tour-de-force by any means, and I left the theatre yearning for the kind of performance delivered by Raul Esparza in the groundbreaking production of Company. But it was a good, solid performance by an actor who has now amply demonstrated that he belongs as much on the musical theatre stage as he did on television.

In fact, Pierce’s performance is like the show Curtains – likeable, generally solid, and not without its merits, but not the knock-em-out-of-the-park kind of thing. Curtains is an old-fashioned musical with an old-fashioned premise. It boasts a tuneful score, some fun ensemble dance numbers, and an innocuous romance. Oh, and there are even a couple of really talented actors stuck in the middle of things, including Debra Monk and Karen Ziemba.

But at the end of the day, I couldn't help feeling that with all this talent involved, the sum of these parts shouldn't have been a little more.

The biggest drawback and limitation here is the premise of the show. Why creators insist on telling stories that are focused in the theatre themselves is beyond me. There have been so many shows about shows -- from Gypsy and Noises Off! to A Chorus Line and The Drowsy Chaperone. This kind of story has been done countless times before, and is a gimick that, frankly, takes away from the strength of any possible storyline. The show-within-a-show concept is tired.

That said, within that premise, Rubert Holmes’ book zips along nicely, and is facilitated by the tuneful if unmemorable score by Kander and Ebb. The score at least provides some nice vocal moments by Ziemba, Danieley and, of course, Monk. Rob Ashford’s choreography is, frankly, a little boring, but it is fun to watch Karen Ziemba dance her way through the numbers. Noah Racey is completely underutilized, although it’s not clear to me he really has what it takes to lead the show.

I suppose it is the expectation that dooms the enterprise, but I just felt like with these names involved, this show should have amounted to more. I shouldn't let that detract from the fact that there is a lot of humor and levity in the show, and the performances are fun. But for something that is so generically classical, is it too much to ask for a little bit more?

Review-Journey's End (6.8.07)

Journey's End (Friday, 6.8.07)
Belasco Theatre, New York, NY

By: R.C. Sherriff (playwright), David Grindley (direction), Jonathan Fensom (scenery/costumes), Jason Taylor (lighting), Gregory Clarke (sound)

Starring: Boyd Gaines (Osborne), Jefferson Mays (Mason), Stark Sands (Raleigh), Hugh Dancy (Stanhope), John Ahlin (Trotter), Justin Blanchard (Hibbert)

At the conclusion of the “Journey’s End,” the revival of the 1928 play about World War I, there is a good minute of the sound of bombing – no talking, no lights on stage – just the sounds that would have filled the air in 1918 when this play takes place. It is a powerful moment, one which doesn’t give you much time to really think – it just invokes an immediate gut reaction.

The effect sets a perfect tone for the conclusion of the play. The feeling is not necessarily one that is different from that achieved at other times during the play – but the difference is that at the conclusion, the audience reaction is more visceral.

What is just so wonderful and moving about Journey End, though, is that the piece largely avoids relying on pyrotechnics or cliche scenes in order to achieve its emotional effect. Rather, the piece relies on building character, through conversation. There is never a dull moment, even though the action all takes place in a relatively dimly lit officer’s lodge in a trench. The “action” is only referred to – we never actually see any of it on stage. But what we do see on stage are the interactions which tell us far more about the characters on stage than any action scene could ever tell us.

The cast is uniformly excellent. Boyd Gaines is excellent as the elder statesman of the group, reliable and good-hearted and loyal to his men. Hugh Dancy is especially compelling as the young and charismatic, but equally troubled, commander, and Dancy has some unexpected moments in the second and third acts. Jefferson Mays and John Ahlin have some wonderful comic moments, with Mays in particular approaching the role with droll humor. And Stark Sands delivers a lovely performance as Raleigh, and gets to show the transformation that war can make on a man.

The lighting and scenic design are appropriate to the setting, although I would have preferred just a little more light to better see the fine acting going on before me. The direction is seamless, and given that the entire play takes place in one room, it is especially fluid.

Journey’s End is an actor’s delight. The roles are not necessarily easy to play – indeed, there is a great deal of nuance to be had – but the roles are meaty, with lots of opportunity to build character. The show is a perfect demonstration of why Broadway needs more straight plays – to give actors an opportunity to shine as they do here.

Review - 110 In The Shade (5.17.07)

110 In The Shade (5.17.07)
Studio 54, New York City

By: N. Richard Nash (book), Harvey Schmidt (music), Tom Jones (lyrics), Lonny Price (direction), Santo Loquasto (sets, costumes), Christopher Akerlind (lighting), Dan Moses Schreier (sound), Jonathan Tunick (orchestrations), Dan Knechtges (choreography)

Starring: Audra McDonald (Lizzie), John Cullum (H.C. Curry), Chris Butler (Noah Curry), Bobby Steggert (Jimmy Curry), Christopher Innvar (File), Steve Kazee (Starbuck), Carla Duren (Snookie)

Audra, Audra, Audra. When Audra is on stage, we are in heaven. It almost doesn’t matter what she is saying, what she is singing, what she is doing. So long as she is on stage, we know we will be entertained.

Such is the case with 110 in the Shade, though to say so would be to understate the achievements of the remainder of the cast, which is uniformly excellent. But in the end, this production is about Audra McDonald, the extraordinary actress with a glorious voice. What is remarkable about McDonald is not that she sings well – though she does – but is that she manages to inhabit the character of Lizzie to such great effect. Though she is a beautiful woman, McDonald comes across as “plain”, just as the character calls for. But she is at the same compelling, and by the end we come to understand why she should have men fighting over her. She is all emotion – it pours out from her – and she is what gives 100 in the Shade it’s energy.

In the usual Roundabout fashion, Audra is not alone is this production, and she is surrounding by some notably excellent actors, particularly John Cullum as her father, H.C. Curry. Cullum is a master of musical theatre – though he does not sing particularly well, he has a wonderful presence and great comic timing. He is excellent and provides great support for McDonald in their several scenes together. Also particularly excellent is newcomer Bobby Stegger as Jimmy – he lends an adorable presence as Lizzie’s somewhat dim-witted younger brother. Chris Butler has the more difficult role of Noah, Lizzie’s dubious older brother, but he rounds out the clan nicely. Christopher Innvar, with his brooding baritone, is perfectly cast as File.

The notable deficiency in the cast is Steve Kazee, a goodlooking actor with a nice voice, who unfortunately is simply miscast. Kazee is a little too good-natured looking to be in the difficult role of Starbuck. He is not enough of a rascal, and he seems to struggle to give life to his big numbers. Although one can understand why he’d be drawn to Lizzie, it’s just not clear why she would be drawn to him.

110 in the Shade is not a real classic, though it has a couple of nice tunes. But it has some nice opportunities for great actors to show their stuff, and so it is the perfect “Roundabout” revival – a decent show populated by some great actors who give memorable performances. This production is light years ahead of the clunky revival of The Apple Tree, and will be remembered for bring Audra McDonald back where she belongs – in the starring role in a great musical theatre role.

Review - The Pirate Queen (5.8.07)

The Pirate Queen (Tuesday, 5.8.07)
Hilton Theatre, New York City

By: Claude-Michel Schonberg (music and book), Alain Boublil & Richard Maltby, Jr. (lyrics and book), John Dempsey (lyrics), Eugene Lee (scenic design), Kenneth Posner (lighting), Martin Pakledinaz (costumes), Jonathan Deans (sound), Graciela Daniele (choreography), Frank Galati (direction)

Starring: Stephanie J. Block (Grace O’Malley), Hadley Fraser (Tiernan), Jeff McCarthy (Dubhdara), Linda Balgord (Queen Elizabeth I), William Youmans (Sir Richard Bingham), Marcus Chait (Donal O’Flaherty)

It is difficult to know where to begin with The Pirate Queen, which is nothing short of a gigantic mess. I suppose the fairest thing to do is start with the premise – the story of Grace O’Malley, the Sixteenth Century Irish Chieftain who led her clan during the time of Elizabeth I. There is something admirable in the notion of a centering a show around a strong female character. If only the creators had been able to do something with it.

The relatively promising premise aside, there is very little else to admire in this clunky and aimless musical production. First and foremost, Claude-Michael Schonberg’s music could not be more plodding and uninteresting. Schonberg has always been prone to using simplistic modes, such as scales or repetitive intervals, but here it is nonstop, and listening to his score is like listening to a beginner piano student practice their technique. Even the best singers cannot transform Schonberg’s tuneless score into something compelling. Unlike some other musicals which can hide the weakness of their scores with a good book (the best example of this being Wicked), this show is entirely told through song. There is just no hiding the musical deficiencies.

The book, what there is of it, is also a huge disappointment, as are the plodding lyrics. Given the relatively promising premise, there is an unbelievable lack of compelling motion. The opening scene is a total mess – there simply HAD to be a better way of telling Grace’s early story. This wasn’t it. And beyond that, the momentum never builds to the critical scene in Act I – the betrayal – or the critical scene in Act II – Grace’s meeting with Elizabeth. The show tries so hard to be emotional that it is overbearing. The characters never have a chance to breathe.

Which brings me to one of the stranger aspects of the evening, which is the character of Queen Elizabeth. As played by Linda Balgord, Elizabeth is a complete parody. Her entourage sings light “English-sounding” ditties, while she, dressed in Elizabethan-looking gear, croons out songs from Sunset Boulevard. It is jarring, the juxtaposition of Elizabeth with the rest of the action – which is not a problem in terms of trying to separate “England” from “Ireland” – but it is a problem in terms of shifting the style so completely back and forth. Whereas the Irish portion of the show aims to be melodrama (though it never achieves it), the English portion seems to be parody (though it never achieves it). It is a double failure.

The design elements do not fair much better. Though the set is big and there is a lot on stage, the show manages to be expensive without looking like it, and to have big set pieces that do not really add to anything. I wouldn’t call the show visually “stunning” – merely large. There are a couple of nice effects, unfortunately, the ship (which is so important to Grace’s clan) is not one of them. Making things all the more problematic are the clunky costumes. They are bulky and vaguely period, without being either authentic or nice to look at.

The choreography also falls far short. Admittedly, there are a couple of moments during the big scenes (like the wedding scene) where the choreography starts to get interesting, but then it stops. Given the producers’ roots in Riverdance, they would have been far better off simply having extended dance numbers. At least those would have been interesting to watch.
As for the actors, they certainly do try hard. Stephanie Block is talented – she showed that in The Boy From Oz – but her talents are deserving of a role with better songs and better character development. Block does her best to show Grace’s resolve, but frankly we do not know as an audience where it comes from. And when she sings later in the show about being a woman, we are not sure why she reaches that conclusion – is it simply because she is a mother (who has not raised her child because she’s been in prison)?

Hadley Frasier does not fare too much better. He is the “good guy,” to be sure, but he is also playing second fiddle. And he never gets a good song to sing. Marcus Chait is even worse off – he gets to be the bad guy, yet he never gets a chance. Boublil is prone to this – he likes to write characters who are all good or all evil, without showing the nuances in between. There are no Javert’s here (the bad guy who is also a good guy. O’Flaherty has no redeeming qualities whatsoever.

In the end, the conclusion of The Pirate Queen is a relief. It is a relief that the proceedings have finally come to an end, that we do not have to hear more about the story of Grace O’Malley or listen to talented actors sing such horrible lyrics to such horrible tunes. That The Pirate Queen ran for a couple of months is a testament to fans’ devotion to Les Miserables and Riverdance. But we are let down in virtually every respect.

Review - Les Miserables (3.23.07)

Les Miserables (Friday, 3.23.07)
Broadhurst Theatre, New York City

By: Claude-Michel Schonberg (music), Alain Boublil & Herbert Kretzmer (lyrics, book), John Napier (design), David Hersey (lighting), Andreane Neofitou (costumes), Jon Weston (sound), Christopher Jahnke (new orchestrations), Stephen Metcalfe (co-orchestrator)
Starring: Alexander Gemignani (Jean Valjean), Norm Lewis (Javert), Lea Salonga (Fantine), Thenardier (Gary Beach), Jenny Galloway (Mme. Thenardier), Zach Rand (Gavroche), Megan McGillis (u, Eponine), Ali Ewoldt (Cosette), Aaron Lazar (Enjolras), Adam Jacobs (Marius), Drew Sarich (Grantaire)

When I saw the show in January, the production obviously suffered from an identity crisis. On the one hand, it wanted to remain faithful to the memory so engrained in the minds of its devoted audience. On the other hand, it wanted to be fresh, new and relevant. The producers and creative directors could not seem to decide, though, what they really wanted to do with the show. Moreover, the young cast showed its inexperience or, at least, its difficulty in re-defining roles that had been played by so many so well. Even the more experienced actors showed they couldn’t necessarily inhabit the roles in a successful way. The results were very varied, and the production as a whole suffered, especially when compared to the original, but more importantly, on an artistic level.

Well, even with some questionable directorial decisions, the cast now playing this show demonstrates what good actors can do to transform a production. Although the cast is largely the same as it was in January, with the actors having a few additional months playing those roles, and with a key casting change, the production that lagged so badly before is now a near triumph. It’s as if this is a whole different production.

Leading the charge is Lea Salonga, an experienced actress who not only has a history with Schonberg and Boublil, but who shows her own versatility in taking on and embracing the role of Fantine. Salonga’s performance is sensational – gorgeously sung, beautifully acted, and appropriately tear-inducing at every turn. Because the first half hour of the show is all about Fantine, Salonga’s presence and performance are key to transforming the piece into something memorable.

The other casting change was an understudy, Megan McGillis, filling in for Celia Keenan-Bolger as Eponine. McGillis is perfect in the role, her edgy voice and tough but fragile demeanor filling the stage. Although she loses some of her power in her big Act II moment “On My Own,” in general she sings very well, and her counterpoints during “A Heart Full of Love” are exquisite. McGillis is a vast improvement of Keenan-Bolger, who never really seemed to capture the fragility of Eponine’s character. McGillis’s desperation for Marius is absolutely heartbreaking.

As for the rest of the cast, several of the actors have settled nicely into their roles. Adam Jacobs and Ali Ewoldt, who have been doing some good work, have grown all the more in their roles, and their chemistry is simply fantastic. Jacobs comes across and ernest and lost – he brings just the right amount of enthusiasm to “One Day More” and just the right amount of pathos to his big Act II number “Empty Chairs at Empty Tables.” His duet with Eponine in “A Little Fall of Rain” is beautifully rendered. Meanwhile Ewoldt brings just the right amount of girlist naievete to the role. Her lilting soprano is almost childlike at times, but it is never inappropriate, and more critically, she brings a likability that captures the essence of Cosette’s character. Her duets with Jacobs are marvelous.

Alexander Gemignani has grown into the role of Jean Valjean. Although he is still too young and a little too cool to play this role to its full effect, he at least injects some life into the character’s earlier scenes. We no longer get the character shift that was so jarring when he played the role previously. Instead, his performance is more consistent. Still not quite there, but more consistent. His performance of “Bring Him Home” is beautifully rendered, and is no longer nonsensical or overplayed. It is also nice to report that he is in better vocal form than he was previously, struggling less with the higher range.

The remainder of the cast remains excellent, with Norm Lewis and his silky baritoned Javert as the true standout. Gary Beach and Jenny Galloway are likewise excellent, delivering edgy comic performances. And Aaron Lazar is excellent as Enjolras.

The show retains its smaller and less grand feel. The weak orchestrations and ill-conceived redirection are still lamentable, and do detract from the overall staging. But it is nice to report that the show’s heart has returned from its hiatus. This new new Les Miz is emotionally lifting and gorgeous to listen to, as it should be.

Review-The Threepenny Opera (3.25.06)

The Threepenny Opera (Saturday, 3.25.06)
Studio 54th, New York, NY

By: Bertolt Brecht and Kurt Weill, Scott Elliot (direction)

Starring: Alan Cumming (Macheath), Jim Dale (Mr Peachum), Ana Gasteyer (Mrs. Peachum), Cyndi Lauper (Jenny), Nellie McKay (Polly Peachum), Christopher Innvar (Tiger Brown)

When “Cabaret” moved to Studio 54 many years ago, it seemed to be the perfect melding of show and venue. It was a brilliant production of a brilliant show, and it fit so snuggly in Studio 54’s decadent venue.

One senses that with this new production of “Threepenny Opera” that the folks at Roundabout are trying to recreate that magic with the production of another famous show from the same period. They’ve even brought back their Tony-winning lead, Alan Cumming, to play the role of Mack the Knife.

Unfortunately, this attempt falls far short of the mark.

For starters, Threepenny Opera is no Cabaret. Cabaret was transporting -- it was filled with memorable music, memorably performances, and even a political message. By contrast, Threepenny Opera’s material is uneven, with a few memorable songs, but dull dialogue, many bad song lyrics, and an uncompelling and puzzling story.

The production is also rife with problems of its own, leading to a clunky and, at times boring, production. The production is dark and relatively unpleasant to look at. The more colorful numbers are garish in appearance. Even the lighting seems to fall short of the mark.
That leaves the task up to the cast, which is filled with big-name stars. Two of them -- Lauper and Dale -- are up to the task, and they perform quite well. Cyndi Lauper’s smoky renditions of famous songs pierce through the otherwise cumbersome production and provide the best musical moments of the evening. She is entertaining whenever she is onstage, whether she is lamenting, or screaming or joking. She is delightful.

Jim Dale is also a standout as Mr. Peachum. He is sleazy and droll, and truly delightful. Ana Gasteyer has a few nice moments as Mrs. Peachum, but she comes across as a bit overly shrill, which is disappointing.

Most disappointing is Alan Cumming. He seems unable to make much of his role because he can’t seem to decide what it wants to be -- demonic murderer or caring lover. In the end, it matters not whether Cumming sings well at all. We simply don’t care.Cumming’s struggle with the material is a telling marker of the entire production, which overall lacks any sort of vision or voice. Its flow is slow and uneven, and by the end of the show, we do not appear to have gone anywhere. In the end, the dull exercise leaves us empty. Even the political messages behind the once ground-breaking show are completely lost.

Review-The Coast of Utopia: Salvage (3.18.07)

The Coast of Utopia: Salvage (Sunday, 3.18.07)
Vivian Beaumont Theatre, New York City

By: Tom Stoppard, Jack O’Brien (direction)

Starring: Brian F. O’Byrne (Herzen), Matt Dickson (Sasha), Annie Purcell (Tata), Amanda Leigh Cobb (Olga), Felicity LaFortune (Maria Fomm), Jennifer Ehle (Malwida), Mia Barron (Mrs. Blainey), Richard Easton (Count Stanislaw Worcell), Ethan Hawke (Michael Bakunin), Josh Hamilton (Nicholas Ogarev), Martha Plimpton (Natasha Tuchkov Ogarev), Jason Butler Harner (Ivan Turgenev), Kellie Overbey (Mary Sutherland)

In Part One, we watched as a young group of Russian thinkers grabbed the reins from the older group of leaders and plotted their strategy for achieving greater enlightenment. Each man had his own method and vision, and they often clashed. But they all could agree that they were not content with the situation as it was, and that they longed to achieve something greater. Over the course of the first and second parts, we watched as each of these men strived towards their broader goals (criticism of the tsar, freedom of the serfs, revolution), but at the same time struggled with their own existence, their own personal relationships, and their own disappointments. Herzen (O’Byrne), an aristocrat who believed in freeing the serfs, lay at the center of these struggles.

In Part Three, Herzen remains at the center, but new, younger characters are entering. As he struggles to deal with the loss of his wife and child, he inhabits a new world, including an affair with his best friend’s wife, Natasha Ogarev (Plimpton) with whom he has several children (including twins who perish in disease-ridden Paris). Herzen also comes to battle the new guard, new young revolutionaries who are not content with the battles or methods of the past. Of course, Bakunin embraces these youths, but Herzen is much more circumspect.

Herzen also must come to grips that his victories are not what they seem. When the serfs are finally freed, Herzen and the others celebrate their bloodless victory, as it came by decree of the tsars. Only later do they realize the hollowness of their victory, since the serfs do not own the land they once occupied, and essentially become economic slaves to their former masters. It is a disappointing moment when Herzen realizes the failure, which puts into perspective a lifetime worth of work.

Part Three is not quite as compelling as the gripping Part II, but it is a fitting end to a truly epic trilogy of plays. What makes this production so impressive is its core of fine actors playing a multitude of roles. In Part Three, Jennifer Ehle takes on the part of the German nanny and tutor Malwida, whose impact is so great that she even takes away Olga (Cobb) who becomes Italian and forgets even how to speak Russian. She is wonderful in the role, and it is a nice counterpoint since she played the girl’s mother in Part Two. Other cameos are equally compelling, including Richard Easton’s bumbling but well-intentioned play as the Polish Count Stanislaw Worcell, a revolutionary who sacrifices his family and home in order to lead the cause (and, who Herzen notes Worcell’s sacrifices and wonders where it got him). Josh Hamilton and Jason Butler Harner continue their fine work as Ogarev and Turgenev, the latter in particular deriving more laughs out of his material.

Part Three feels like the conclusion, and as a result, there is a feeling of complacency or resolution. It is humorous and a times touching, but lacks the headiness of Part I or the emotional depth of Part II. That said, it is very engaging, and the fine performances are noted throughout.

In the end, this production should be noted for its fine direction and inventive staging. With its glossy sets, its use of sheets and simple props and well-placed (and well-composed) music, this is a sterling production worthy of the fine cast assembled. The play is a good, though not great one, but it is the production that makes it noteworthy.

Review - Talk Radio (3.08.07)

Talk Radio (Thursday, 3.08.07)
Longacre Theatre, New York City

By: Eric Bogosian, Robert Falls (direction)

Starring: Liev Schreiber (Barry Champlain), Michael Laurence (Stu Noonan), Kit Williamson (Spike), Cornell Womack (Bernie), Peter Hermann (Dan Woodruff), Stephanie March (Linda MacArthur), Marc Thompson (Vince Farber), Christy Pusz (Jordan Grant), Sebatstian Stan (Kent), Barbara Rosenblat (Dr. Susan Fleming), Christine Pedi (Rachael)

Is he crazy? Is he genuine? Is he going to lose it?

The main conceit of “Talk Radio” is that the radio host, Barry Champlain, is a man on the edge. Because he is on the edge, we the audience should always wonder whether or not he will be okay. Barry Champlain’s radio persona is that of a man on the edge.

As Champlain, Schreiber is captivating. When he is talking, it is difficult to focus on anything else other than him. He is funny, outrageous, poignant – all the things you would expect in a successful radio host. He lets loose, but even when he does, you always get the sense that he is in control, even when he breaking down.

Herein lies the problem.

Schreiber’s Champlain is a thinking man. He is quick witted and quick tempered, unpredictable. But he’s always in control, and you always sense he will be ok. Even though he is a joy to watch and is very entertaining, one wonders why he isn’t more on the edge. There is no suspense, no worry about the character, no real edge.

Unfortunately, this is no small flaw. There is really no salvaging the production with the wrong actor in the lead role, and unfortunately, Schreiber is not the right actor. He is a terrific one, to be sure, a thinking actor who showed his chops in Glengarry Glen Ross. But here, his cerebral quality doesn’t allow him or his character to reach the heights if you really had that sense of unease about the character.

The remainder of the production is fine, although the play suffers whenever Champlain is no the center of attention. In particular, when the secondary characters step out for their monologues. The play would have been better streamlined if it simply focused on Champlain at all times. Of course, it would also have been better with a more appropriately cast actor in the lead role.

Review - A Prelude To A Kiss (3.06.07)

A Prelude To A Kiss (Tuesday, 3.06.07)
American Airlines Theatre, New York City

By: Craig Lucas, Daniel Sullivan (direction)

Starring: John Mahoney (Old Man), Alan Tudyk (Peter), Annie Parisse (Rita), Matthew Rauch (Taylor), Francois Battiste (Tom, Jamaican Waiter), James Rebhorn (Dr. Boyle), Robin Bartlett (Mrs. Boyle), Macintyre Dixon (Minister), John Rothman (Uncle Fred), Marceline Hugot (Aunt Dorothy), Marceline Hugot (Leah)

"Prelude" is a story about a crossed connection – between the lovers, Peter and Rita, and between two souls who have a sense of yearning for something else – Old Man and Rita. What proceeds following the “Kiss” is a bizarre journey as Peter (Tudyk) struggles to find Rita before it is too late.

Everything about this production of Prelude is good and competent. As Peter, Alan Tudyk is likeable and believable. As Rita, Annie Parisse is sufficiently quirky without ever coming across as unreal. And as the Old Man, John Mahoney plays his material well. The production values are good, the direction seamless, the incidentals well thought out.

In the end, though, there is something missing in Prelude, and it’s not clear what it is. Sure, we come to care about Rita’s plight, but perhaps there just isn’t enough about her character to make us care. Indeed, I was most concerned with how she would manage to switch souls back, rather than whether she would be able to do so.

It could be the times have changed, and so the resonance of the piece too has changed. Prelude was written during the height of the AIDS epidemic. Although the piece doesn’t come across as one about AIDS, in fact it is a piece that explores the life cycle and death. Peter, when he learns that the Old Man is ill with cancer, is suddenly faced with the prospect of losing Rita at a time when he has been preparing to spend the rest of his life with her. It is a poignant thought which probably struck a greater chord at a time when many young people died before the their prime. It is still a sad thought today, but today young people aren’t being constantly stricken down.

In any event, this is a good play, and a potentially thought-provoking one. It is difficult to imagine that a better production could have been given. Unfortunately, the play suffers from its seeming lack of relevance.

Review - Company (2.16.07)

Company - Friday, 2.16.07
Barrymore Theatre, New York City

By: Stephen Sondheim (music, lyrics), George Furth (book), John Doyle (direction)

Starring: Raul Esparza (Robert), Barbara Walsh (Joanne), Keith Buterbaugh (Harry), Matt Castle (Peter), Robert Cunningham (Paul), Katrina Yaukey (u, Marta), Kelly Jeanne Grant (Kathy), Kristin Huffman (Sarah, Act I), Renee Bang Allen (u, Sarah, Act II), Amy Justman (Susan), Heather Laws (Amy), Leenya Rideout (Jenny), Fred Rose (David), Bruce Sabath (Larry), Elizabeth Stanley (April)

Fresh off my third viewing of Spring Awakening, I got my second viewing of the new Broadway production of Company. Though some 30 years older, Company still comes across as fresh and inviting as does Broadway’s latest Spring darling. Thanks to John Doyle’s brilliant direction and one of the most talented casts ever assembled, this show does not disappoint.

At the center of this remarkable production is Raul Esparza, who, as ever, is a charismatic and likeable presence. It is Esparza’s remarkable journey of sorts which makes Company so satisfying. His wonderful delivery of the classic songs, his wry delivery of the comic lines, and his likability make Bobby come to life. He is a character you root for, and he is the reason why “Being Alive” ends up being such a powerful number.

But the show is not just about Bobby, it is also about his friends, and in this cast it is a remarkable group. Critics who complain that the cast is unmemorable have missed the point – if there is nothing “memorable” about individual characters, this is by design. It is also because there is not a single weak link in the cast. I was especially impressed by Heather Laws’ wonderful turn as Amy – before she utters a single word of her fast-mouthed diatribe, one can simply sense the panic from the look on her face. She is, throughout, an absolute delight. Barbara Walsh is, of course, very memorable as Joanne, and her rendition of “The Ladies Who Lunch” is truly astounding. Kristin Huffman and Keith Buterbaugh have some great moments in “The Little Things You Do Together,” and Fred Rose and Leenya Rideout are fun when they are getting stoned, and Matt Castle and Amy Justman are memorable as the couple who strengthens their relationship by getting a divorce. Both the men and women sing terrifically well, and they play their instruments even better. Katrina Yaukey delivers a terrific version of “Another Hundred People,” while Elizabeth Stanley is wonderfully vacuous as April.

If it is the inventiveness of the staging and design that make this Company glitter and glisten, it is also the quality of its cast that makes it sing. Number after number, the production celebrates and honors its creators. Boasting one of the best of Sondheim’s career, this show is one that deserves to sound fresh and innovative. Company was innovative when it first premiered in the 70s – there is nothing less innovative about its appearance on Broadway more than 30 years later.

Review-The Little Dog Laughed (2.18.06)

The Little Dog Laughed (Saturday, 2.18.06)
Second Stage Theatre, New York, NY

By: Douglas Carter Beane

Starring: Julie White (Diane), Johnny Galecki (Alex), Neal Huff (Mitchell), Zoe Lister-Jones (Ellen)

Throughout the history of the Hollywood, there have been many stars who have been gay but who have kept their secret life in the closet for the sake of their careers. Little Dog Laughed is a funny play about one such promising actor – Mitchell (Neal Huff) – whose shrewd agent Julie White puts the kibosh on his plans to come out, and concocts a great scheme to cover up the mess he creates when he thinks he finds love.

The play centers around Mitchell, who decides he wants to come out when he meets Alex (Galecki), a hustler who is out to rob him. Alex, purportedly straight, decides he actually likes Mitchell, and falls for him while abandoning his (pregnant) girlfriend Ellen (Lister-Jones). Meanwhile, White frets about what will happen to Mitchell’s career should he take that step.
What follows is a refreshingly witty and light-hearted romp. This is not to say the play is frivolous, because it is not, but it also does not require a lot of heavy thinking or pondering. The play is also successful because it avoids cliché, which is quite remarkable given the subject matter.

It doesn’t hurt that the performances are quite good, particularly Julie White, who capitalized on comic timing and deadpan expression. White’s character is larger than life; she is the face of Hollywood, with all of its superficiality, it’s concern not about what’s real, but about the how the world views everything.

Neal Huff is sufficiently “straight”-laced as the budding star Mitchell. If he is not especially convincing as the next matinee idol, he at least is good-natured about what’s going on. What is believable about Huff’s performance is that he is so easy going (and so unconflicted) about who he truly is, that one can imagine him wanting to come out. If he seems wholly unconcerned about what it will mean for his career, that is believable, because Huff is so blasé about everything.

Johnny Galecki shows some surprising versatility as Alex. He, unlike Mitchell, seems truly uncomfortable with everything, with being gay, with dealing with Mitchell’s career, with dealing with his girlfriend’s pregnancy. Rounding out the cast is a nice performance by Zoe Lister-Jones as Ellen, who wrings laughs out of the weakest material given to the four actors.With its solid acting and well-executed script, The Little Dog Laughed is a highly entertaining, highly stylized piece. Though not perfect, it is a zippy romp, entertaining from the opening moments to the very last laugh.

Review - Spring Awakening (2.11.07)

Spring Awakening (Sunday, 2.11.07)
Eugene O'Neill Theatre, New York City

By: Duncan Shiek (music), Steven Sater (book, lyrics), Michael Mayer (direction)

Starring: Jonathan Groff (Melchior), Lea Michele (Wendla), John Gallagher, Jr. (Moritz), Phoebe Strole (u, Ilse), Lilli Cooper (Martha), Krysta Rodriguez (u, Anna), Remy Zaken (Thea), Brian Charles Johnson (Otto), Jonathan B. Wright (Hanschen), Skylar Astin (Georg), Gideon Glick (Ernst), Stephen Spinella (adult men), Frances Mercanti-Anthony (u, adult women)

With each viewing, Spring Awakening opens up more and more, with subtle details coming to the fore that demonstrate why this theatrical piece is so special. It is exquisite -- emotional, funny, heartwarming, and incredibly moving. Each performer contributes to the power of the piece, which remarkably exceeds each of the individual contributions.

The quality of the piece is especially evident given the number of understudies in the cast on this viewing. Filling in as Ilse is Phoebe Strole, ordinarily playing Anna. Although lacking the soulful and moody quality that Lauren Pritchard brings to the role, Strole did her best to capture the free-spritedness of the character, and offered acceptable renditions of Ilse’s key numbers. Frances Mercanti-Anthony manages to capture much of the warmth and versatility that Laura Estabrook normally brings to the role.

The show is remarkably well put together, and the third viewing of the show is especially impressive. The cast has really hit its groove, and in particular I was struck by how well-constructed is the first act. From early on, the piece rolls to a steady pace, gradually gaining momentum until it is unstoppable. The show is truly an awakening, and one senses that the passions and emotions which drive the plot are unstoppable.

John Gallagher and Jonathan Groff are truly spectacular. Gallagher feels not only a bit lost, but in fact a bit out of control. When he faces his father about failing out of school, one senses his character slowly slipping away. His scene with Ilse is especially touching, as one can sense how he regrets that he cannot bring himself to simply accept her invitation and possibly save himself. His reemergence in the penultimate number is striking and poignant. Groff, meanwhile, is so different from Gallagher. He is captivating – powerful and a passionate force to be reckoned with, but also attached to his friends and his loves.

Meanwhile, Lea Michele is a gorgeous, delicate presence. She is steely and smart, and yet there is a fragile naivetee that helps lead to her tragic conclusion. Her delivery of her key numbers, especially whispering, is absolutely captivating.

Indeed, there is no weak link in this cast, nor is there a weak moment in the show’s construction. It is very well-directed and constructed, and every scene gives a glimpse into the characters’ psyche. About the only thing that tops the exquisite beauty of the show’s direction and design is Shiek and Slater’s score. It is truly remarkable in its every last detail. Spring Awakening is a Broadway landmark. If Broadway can produce just one show of this quality and imagination every 10 years, it will be in good shape for years to come.

Review-The Light in the Piazza (1.28.06)

The Light in the Piazza (Saturday, 1.28.06)
Vivian Beaumont Theatre, New York, NY

By: Adam Guettel (music, lyrics), Craig Lucas (book)

Starring: Victoria Clark (Margaret Johnson), Katie Clarke (Clara Johnson), David Burnham (Fabrizio Naccarelli, u/s), Chris Sarandon (Signor Naccarelli), Michael Berresse (Giuseppe Naccarelli), Sara Uriarte Berry (Franca Naccarelli), Patti Cohenour (Signora Naccarelli), Beau Gravitte (Roy Johnson)

This is my first viewing of this show since the major cast changes, and the good news to report is that it is still a strong piece. While none of the replacement actors is as strong as strong as the actors they replace, each brings their own qualities, and still connect in this remarkably beautiful piece. Still soaring is Adam Guettel’s tremendous score, and still touching is Craig Lucas’ beautifully constructed book. This was and remains the most beautiful and most touching new musical of last season.

Katie Clarke joins the cast as the fresh new Clara Johnson. Clarke looks the part and is particularly good as a sweet-faced 12-year-old, what she lacks is that soaring soprano which transforms easily into the more sensual 26-year-old woman that she really is. It is difficult, because Clarke replaced Kelli O’Hara, probably the perfect actress for the part, and by that yardstick she fails miserably. But she is a passable replacement, and certainly over time will grow into the part.

Understudying for Aaron Lazar is David Burnham, who is clearly having fun in a role that is a really well beyond his reach both vocally and dramatically. Burnham seems to be trying a little too hard in all respects. He is obviously playing the character, but he never really inhabits it like his predecessors. Nevertheless, it is fun to see an actor really relish his opportunity to go on stage.

Chris Sarandon is probably the best replacement of the three. His Naccarelli is a little more stern and a little less charming, but equally as compelling and appropriate for his character. He doesn’t sing particularly well, but the character doesn’t really call for that anyway. He counterbalances Victoria Clark’s performance quite well.

Victoria Clark is still the center of this show, and her performance is as rich and as moving, both vocally and dramatically, as ever. Each of her big numbers, particularly Fable, is so beautifully performed, and she peppers in her tremendous comic timing throughout the show. Her performance is truly a revelation, the kind of performance that marks a career. She makes the show truly memorable.

Review-The Voysey Inheritance (1.20.07)

The Voysey Inheritance (Saturday, 1.20.07)
Atlantic Theatre, New York City

By: Harley Granville Barker, adapted by David Mamet

Starring: Michael Stuhlbarg (Edward Voysey), Samantha Soule (Alice Maitland), Judith Roberts (Mrs. Voysey), Peter Maloney (George Booth), Fritz Weaver (Mr. Voysey), Steven Goldstein (Mr. Peacey), C.J. Wilson (Major Booth Voysey), Geddeth Smith (Rev. Evan Colpus), Tricia Paoluccio (Ethel Voysey), Rachel Black (Honor Voysey), Christopher Duva (Trenchard Voysey), Todd Weeks (Hugh Voysey)

Maintaining true to one’s moral center is difficult when one has to face the problem of balancing moral principles with taking care of one’s family. Such is the central premise of The Voysey Inheritance, which pits the morals of the younger Edward Voysey (Michael Stuhlbar), who learns shortly before his father’s death that the father has been improperly handling the firm’s accounts. After his father’s death, Edward decides he must continue to conceal this family secret, all the while attempting to make amends to the clients who have, without their knowledge, been bilked of their entire savings.

Voysey is faced, however, with a largely ungrateful family that is more concerned about its well-being, and with some difficult clients who, upon learning the secret, decide to attempt to blackmail him in order to save their own fortunes, even if at the expense of others. It is never quite clear whether Voysey is in fact being true to his own articulated principles, or whether he is simply talking the talk while doing something else. While there is nothing in Edward’s outer character or actions to suggest he is not being genuine, it is the trick of human nature that leads us to believe he may be deceiving us.

With this as the backdrop, Mamet’s new version of this classic play hops along at a quick pace. Mamet’s script is excellent – it is filled with humor and biting exchanges, and it is sufficiently ambiguous as to make us continually wonder if we really know what is going on. As Edward, Michael Stuhlbarg is quite good. His character is stilted and stiff, but there is a sense of question that he brings to the role that enhances the uncertainty.

There are several other quite good performances to accompany Mr. Stuhlbar’s, including Peter Maloney’s cantancorous George Booth and Steven Goldstein’s seemingly loyal but ultimately despicable Mr. Peacey. The ladies in the cast are also excellent, particularly Samantha Soule’s turn as Alice Maitland and Judith Robert’s fun portrayal of Mrs. Voysey.

The set is beautifully designed and fits appropriately in the Atlantic’s main stage. But it is Mamet’s script that crackles and pops to great effect. There is nothing dated about the Voysey Inheritance. It comes across as fresh and lively as it must have been the day it first premiered.

Review-The Coast of Utopia-Shipwreck (1.7.07)

The Coast of Utopia-Shipwreck (Sunday, 1.7.07, 3 p.m.)
Vivian Beaumont Theatre (Lincoln Center)

Starring: Brian F. O’Byrne (Alexander Herzen), Jennifer Ehle (Natalie Herzen), Josh Hamilton (Nicholas Ogarev), Jason Butler Harner (Ivan Turgenev), Billy Crudup (Vissarion Belinsky), Patricia Conolly (Mme. Haag), David Harbour (George Herwegh), Bianca Amato (Emma Herwegh), Ethan Hawke (Michael Bakunin), Adam Dannheisser (Karl Marx), Martha Plimpton (Natasha Tuchkov), Amy Irving (Maria Ogarev), Richard Easton (Leonty Ibayev)

In the opening moments of Shipwreck, the second part of Tom Stoppard’s Russian trilogy, Alexander Herzen appears, seated, suspended in the air as the sea, while wind-whipped sheets flutter below and around him. It is as if Herzen is out at sea, a single man amidst an ocean. But Herzen is not drowning, he does not seem lost and solitary, rather, he is floating in the heavens, treading treacherously above the raging sea beneath. It is a powerful image that makes the heart race, but more importantly, it is a powerful image that portends what will come in the next three hours.

During the miraculous proceedings that follow, the character of Herzen does struggle -- he struggles with his ideas, with his life, with his love, with his priorities. But Herzen is never swallowed up by it; rather, he remains the rapt focus of our attentions. Played brilliantly by Brian F. O’Byrne, Herzen captivates, with humor, with passion, with emotion -- we remain spellbound, waiting for each subsequent word to be formed by his lips. So captivating is O’Byrne that, were this part not so focused on Herzen, he would threaten to throw the entire proceedings out of balance.

If fact, though, O’Byrne is just one brilliant part of this magnificent second part of the trilogy. Here Stoppard is at his absolute best -- writing witty exchanges of ideas that would seem to be the kind of exchanges that these so-called intellectuals would have uttered. Whereas Part I seemed almost muted in these exchanges (and part of the reason for this, in retrospect, is the fact that Michael Bakunin, who was all about action and no substance, was the center of that part), here they shimmer and crackle.

The production also benefits by getting away from the Bakunin household to tell the much more poignant story of Herzen, Herzen's wife Natalie (a luminous Jennifer Ehle), and his deaf son. For while there is a good deal to admire and enjoy in Stoppard’s witty exchanges, the piece finds its emotional depth in what happens to the individual characters. It is in part two that we not only learn of the tragedies that befall Herzin, but also of the imprisonment of Bakunin, and the death of Billy Crudup’s compelling Belinsky, who figured so centrally in the latter half of The Voyage.

Shipwreck also benefits from historical events, which help to whip forward the action and propel the piece forward by giving more context. In this case, it is the second Paris revolution of 1848 which, while a big flop in the revolutionary sense, figured prominently into the thoughts of these Russian thinkers. The revolution also provides one of the more dramatic and captivating displays and innovative use of set pieces.

There are other excellent supporting performances here, particularly Jason Butler Harner, who is exudes warmth and thoughtfulness as the writer Turgenev. There is also David Harbour’s half-German George Herwegh, who is humorous as the overgrown child who is also Herzen’s wife’s lover. And Amy Irving delivers a delicious cameo appearance as Nicholas Ogarev’s wife, Maria, who refuses to give him a divorce and has some wonderfully lusty exchanges with Natalie.

Jack O’Brien’s seamless direction takes full advantage not only of his terrific central cast, but also of the large “chorus” which simulates the Russian peasantry. His use of simple elements -- such as tree branches -- to ground the piece to mother Russia is exemplary. O’Brien's efforts are well complemented by Bob Crowley’s sumptuous set and Kenneth Posner’s excellent lighting design. While The Voyage was an adequate prelude and introduction to Stoppard’s world of early 19th century Russia, nothing quite prepares you for the breathtaking pace and passion of part two. If in crafting Part III the creators can capture a fraction of the magic on display in Shipwreck, then they will have on their hands an enormous success.

Review-Les Miserables (1.5.07)

Broadhurst Theatre (Friday, 1.5.07, 8 p.m.)

Starring: Alexander Gemignani, Norm Lewis, Daphne Rubin-Vega, Gary Beach, Jenny Holloway, Adam Jacob, Celia Keenan-Bolger, Ali Ewoldt, Aaron Lazar

In bringing back Les Miserables so soon after it closed, Cameron Mackintosh was really constrained to keep the new production very close to the original. The show, which ran for so many years and was seen by so many, is still very fresh in the minds of many theatregoers. Mackintosh's decision to reprise, rather than revive, the show was, I think the right decision, as a total reconception of the show at this early time would be premature, and might cause a revolt by the audience. That said, Mackintosh still made the decision to take a fresh eye to the entire work from top to bottom, tweaking stage direction, lighting, costumes, and even re-orchestrating the entire work. His new casting, too, in some respects sought to break the mold and depart from what we're used to.

So were all these nips and tucks a success? Well, unfortunately they do little to enhance the show. For while this new production sounds and looks similar to what we're used to, in the end it feels like a lesser creature, toned down in impact and mood. The new and revised elements are, by and large, a disappointment, and none of these changes improve upon the originals. Indeed, in several small instances, the "new" work is clearly inferior to the original.

Of course, even the show that left Broadway three years ago was different from the original show that premiered on Broadway in 1987. Upon the approach of the 10th anniversary of the show, Mackintosh famously fired a majority of the company, entirely recast it, and made various “tweaks” to the staging, lighting and direction. He also eliminated nearly 20 minutes of music, trimming the show from three and a quarter hours to just under three. At that time, I was thoroughly impressed by how the show had been rejuvenated by the changes. Although I did not care for the cuts of music, at least they seemed innocuous in view of the entire piece.

But the justification at that time was that the show was sagging -- it was not at its best. It’s hard to understand the justification for many of the changes that have been ushered forth in this version. Let’s start with the new orchestrations. Mackintosh said in an interview that changes in electronic instrument technology justified a new view of the orchestrations, which were originally written back in the early-/mid-1980s. The new orchestrations certainly allow for a smaller orchestra; however, they are also largely a failure. In reorchestrating the score, they seem to have removed many of the melodic counterpoints with which the audience has become so familiar. The orchestra sounds hollowed out and thin -- the dramatic swells and poignant tugs (such as the eloquent oboe/French horn solos in “Empty Chairs at Empty Tables”) have either been removed or are so understated that they cannot be heard.

The production also seems especially dark. While the show has always been fairly dimly lit, everything appeared much dimmer and drab than usual. Sure, this is mid-nineteenth century France, and it was a dark time, but the contrasts in light and dark are necessary if, for no other reason, than to be able to see what is going on.

The changes in orchestration and the lighting are just two examples of how the overall piece has been toned down. Whether intentional or not, it almost seems as though this new production were specifically designed to match the more toned down sensibilities of the 21st century, as opposed to the overly dramatic (or melodramatic) sensibilities on the 1980s when the show was originally written. If this is the case, this was a big mistake.

The subtle changes in direction, too, seem directionless and unfocused, and in some cases don’t make any sense. In “A Little Fall of Rain,” Eponine sings much of the first part of the song sitting up and directly facing Marius, as opposed to lying more prone in Marius’ arms. This looks awkward, and also doesn’t make sense given that Eponine has just suffered a mortal injury and is dying. Similarly, in the final scene, Fantine actually touches Jean Valjean prior to Cosette and Marius’ entrance. In the original, a luminous Fantine hovers over Valjean, and does not actually touch him until he dies. This lovely effect is gone.

This less effective stage direction, as well as the weaker orchestrations, also highlight the various cuts in the original score, to bad effect. Come to Me, a previously lovely and touching number, has been so truncated that Fantine’s death now comes across as a footnote rather than a major event. Even the runaway cart is so short now that this important element of the storytelling is also lost in the shuffle.

In fact, the entire first act has a paint-by-numbers quality to it, with the actors striving to jam in as much storytelling as possible without actually feeling the moment. Whereas the original show swept over you (the details were there, but it was the sweep of the story and emotion that got you), here, it is as if the actors are going through by rote.

Which brings us to the actors, about whom much has been written. Here, while multi-culturalism certainly deserves applause, the results are mixed.

Alexander Gemignani, who has done some fine work previously (particularly in the recent Sweeney Todd revival) takes on the mammoth role of Jean Valjean. I was excited about this prospect, because while I thought he might be a little too young for the part, I thought vocally he could handle the role. Unfortunately, Gemignani appears here as two different actors. During the course of the first act of the show and into the second act, Gemignani appears stoic and emotionless. Although he has a wonderful clear tenor voice, he rarely displays it to its full effect. Even at the beginning of the show, when Valjean is at his angriest and is the most emotionally volatile, Gemignani seems understated. He goes through the motions -- he throws down his bag, he causes a ruckus, but he never seems genuinely angry. That emotional cool may have been effective when he was the Beadle, but just doesn't fit with Jean Valjean.

Suddenly, then, as if responding to some criticism from a judge on a reality show, Gemignani explodes during “Bring Him Home.” Although his rendition is at times a beautiful and impassioned plea, the level of emotion he injects is far too sudden. It's not clear why he should have such a burst of feelings, particularly for Marius, a character whom he has barely met. Given how his character has acted up to this point (he couldn't be more cool to his beloved Cosette), "Bring Him Home" doesn’t make any sense. There through the end of the show, Gemignani is in full emotional tilt. His schizophrenic performance demonstrates his lack of experience, as well as the lack of a steadying director’s hand.

Upstaging Gemignani in every respect is Norm Lewis, probably the most successful of the new casting. Lewis’s delicious baritone wraps around Javert’s persona. He is both hard-nosed and cold in his exchanges, but in his big numbers -- Stars and Javert’s suicide -- he demonstrates the inner turmoil that makes Javert tick. Notwithstanding his role as Jean Valjean's foil, Lewis's Javert feels at root very human. Lewis is absolutely terrific from start to finish.

Much has been written about Daphne Rubin-Vega’s Fantine. On the one hand, I was pleased to find she is not the disaster that has been made out (in particular, very unkind and unwarranted things have been said about her singing, which was completely on-pitch at the performance I saw). That said, she is totally miscast. Rubin-Vega’s Fantine has a lovely delicacy and physical frailty (Fantine is, after all, sick and dying), she comes across as labored (when was the last time your first emotion when she was done singing was one of relief?) The biggest problem is that her mannerisms -- both physical and vocal -- are out of the period and not in keeping with the character. And even though she comes across as physically frail and perhaps emotionally childlike, Rubin-Vega’s Fantine still seems at her core to be a little too emotionally solid. Maybe it's the Latina chutzpah in her that she can't seem to repress. I just didn't sense enough of Fantine's frailty and desperation.

Also disappointing, though in a different way, was Celia Keenan-Bolger’s Eponine. I’m not sure whether I caught her on an off-night, but vocally Keenan-Bolger seemed to struggle with her lower range and almost to come across as a little hoarse. Her rendition of “On My Own” was pretty, but not nearly as desolate and desperate as it should be. This song has been sung by so many actresses, and most successfully when it comes across as a plain cry for someone to hear. (The best example I’ve heard live is Natalie Toro’s heartwrenching and almost deafening rendition when I first saw the show in the 1980s, followed next by Lea Salonga’s somewhat more contemplative, but equally touching version.) Keenan-Bolger’s version is muted. I felt like she had no nuance -- I didn't see even a glimpse of the vulnerability that lies at the heart of Eponine. Keenan-Bolger also fails to register during "A Heart Full of Love," with her interjections with Marius and Cosette. Ordinarily, this is an absolutely heartwrenching song, and Eponine's counterpoints are its highlight. Here, her existence barely registered. It was an odd and unexpected performance, given the fine work she has done in recent years.

Adam Jacob and Ali Ewoldt do some nice work as Marius and Cosette, respectively. Though Jacob lacks the impetuousness of, say, Michael Ball, his Marius is still fraught with personal struggle, trying to figure out where his loyalties lie -- with his love or his country. Jacob also sings well, and is very good in his big Act II solo, Empty Chairs at Empty Tables. Ali Ewoldt delivers some nice vocal moments, and quite competently fills the difficult role of Cosette. She and Jacob also match well and have nice chemistry, and “A Heart Full of Love” is gorgeously performed.

Aaron Lazar is perfectly cast as the student leader Enjolras. Lazar’s powerful baritone and presence are exactly what are required for the role. He does some excellent work and is also a standout.

Finally, Gary Beach and Jenny Galloway are enjoyable as Thenardier and Madame Thenardier. Beach makes the most of the comic moments of his role, and yet is also sufficiently dark and sinister. Mme. Thenardier is quite funny in “Master of the House” and in her exchanges with Valjean, milking the most out of each comic moment.

The stage of the Broadhurst is significantly smaller than at either the Broadway or the Imperial where this show previously played. As a result, we are closer to the action and the show feels more intimate. I liked this feeling when I saw the show in London, where it plays at the Queens, also a small venue. But for some reason, that feeling was not captured here. I instead felt a little claustrophobic. I felt like the dramatic sweep of the show was lost. I do not think this was because of the stage, but rather because the whole show felt muted.

In the end, there is still much to admire about Les Miz, but despite this show's innate power and beauty, much of the dramatic momentum is either lost or never found in the first place. This new version of the show just seems too muted, too sensitive, too scared of wearing its emotional heart on its sleeve. Perhaps the creators have simply had too much time to think about this material. One senses that had the creators taken a little more care in what they changed, and had the director paid a little more attention to the otherwise talented actors, that this could have been a truly memorable theatre-going experience. Instead, what we see is a competent, but otherwise rather unmoving version of this beloved show. Devoted fans of the show, in fact, will likely spend much time recalling past performances where everything was done a bit better.