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.