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.