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.
Tuesday, February 20, 2007
Monday, February 19, 2007
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.
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.
Tuesday, February 13, 2007
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.
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.
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