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.
Showing posts with label Roundabout. Show all posts
Showing posts with label Roundabout. Show all posts
Monday, July 16, 2007
Wednesday, May 23, 2007
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.
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.
Monday, March 26, 2007
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.
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.
Thursday, March 8, 2007
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.
Thursday, December 21, 2006
The Apple Tree (12.20.06)
The Apple Tree (Wednesday, 12.20.06, 8:00 p.m.)
Studio 54, New York, NY
By: Jerry Bock and Sheldon Harnick (book, music, lyrics)
Starring: Kristin Chenoweth (Eve, Princess Barbara, Passionella), Brian d’Arcy James (Adam, Sanjar, Flip, The Prince, Charming), Marc Kudisch (The Snake, Balladeer, Narrator), Walter Charles (King Arik, Mr. Fallible, Producer)
Is there a bigger talent that Kristin Chenoweth? Witness her on stage in the Roundabout’s new production of “The Apple Tree,” and it will be difficult to argue that there is. Chenoweth, who plays the lead roles in the three vignettes that form this musical, is at her absolute comic best. She is blithe and joyous as Eve, mischievous as Barbara, and touching as Passionella. She even convinces us that she can’t sing when the part calls for it. She is wonderful.
Unfortunately, the same can’t be said for The Apple Tree which, while a nice vehicle for Ms. Chenoweth, is otherwise rather dull and uninteresting. Sure, Bock and Harnick’s songs sound pretty and have a snap to them, but by and large the piece, which attempts to tell the story of the relationship between men and women starting with Eden, is lacking is any momentum or in anything interesting to say. One or two common “jokes” threaded throughout the show notwithstanding, there is little connection among the show’s three parts.
The first part -- a retelling of the story of Adam and Eve -- is also probably the show’s best. Largely performed on a bar stage using minimal props and some ladders, the piece -- which is the show’s first act -- is both humorous and touching. d’Arcy James and Chenoweth play Adam and Eve, respectively, and are both charming and humorous. Although much of the dialogue and interaction borders on cliché, it is nevertheless accessible and humorous, and not all that intellectually challenging. Marc Kudisch has some nice moments as The Snake. If there were ever an actor right for such a cartoonish character as this, it is Kudisch. It’s a delicious featured performance.
The show, unfortunately, goes downhill from there. The retelling of the Lady or the Tiger falls relatively flat. Quite frankly, we don’t really care whether Sanjar gets the Lady or the Tiger at all. Things get even worse when we get to Passionella. Although Chenoweth is arguably at her most adorable here (and although there is a sweet, happy ending), but of the 60s Passionella feel comes across as garish and even tacky.The Apple Tree is a highly flawed show, and it really must be viewed solely as a comic vehicle for Chenoweth. Viewed as such, it is a resounding success. Viewed otherwise, it falls far short of the mark either for classic musicals or the Roundabout Theatre.
Studio 54, New York, NY
By: Jerry Bock and Sheldon Harnick (book, music, lyrics)
Starring: Kristin Chenoweth (Eve, Princess Barbara, Passionella), Brian d’Arcy James (Adam, Sanjar, Flip, The Prince, Charming), Marc Kudisch (The Snake, Balladeer, Narrator), Walter Charles (King Arik, Mr. Fallible, Producer)
Is there a bigger talent that Kristin Chenoweth? Witness her on stage in the Roundabout’s new production of “The Apple Tree,” and it will be difficult to argue that there is. Chenoweth, who plays the lead roles in the three vignettes that form this musical, is at her absolute comic best. She is blithe and joyous as Eve, mischievous as Barbara, and touching as Passionella. She even convinces us that she can’t sing when the part calls for it. She is wonderful.
Unfortunately, the same can’t be said for The Apple Tree which, while a nice vehicle for Ms. Chenoweth, is otherwise rather dull and uninteresting. Sure, Bock and Harnick’s songs sound pretty and have a snap to them, but by and large the piece, which attempts to tell the story of the relationship between men and women starting with Eden, is lacking is any momentum or in anything interesting to say. One or two common “jokes” threaded throughout the show notwithstanding, there is little connection among the show’s three parts.
The first part -- a retelling of the story of Adam and Eve -- is also probably the show’s best. Largely performed on a bar stage using minimal props and some ladders, the piece -- which is the show’s first act -- is both humorous and touching. d’Arcy James and Chenoweth play Adam and Eve, respectively, and are both charming and humorous. Although much of the dialogue and interaction borders on cliché, it is nevertheless accessible and humorous, and not all that intellectually challenging. Marc Kudisch has some nice moments as The Snake. If there were ever an actor right for such a cartoonish character as this, it is Kudisch. It’s a delicious featured performance.
The show, unfortunately, goes downhill from there. The retelling of the Lady or the Tiger falls relatively flat. Quite frankly, we don’t really care whether Sanjar gets the Lady or the Tiger at all. Things get even worse when we get to Passionella. Although Chenoweth is arguably at her most adorable here (and although there is a sweet, happy ending), but of the 60s Passionella feel comes across as garish and even tacky.The Apple Tree is a highly flawed show, and it really must be viewed solely as a comic vehicle for Chenoweth. Viewed as such, it is a resounding success. Viewed otherwise, it falls far short of the mark either for classic musicals or the Roundabout Theatre.
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