Les Miserables (Friday, 3.23.07)
Broadhurst Theatre, New York City
By: Claude-Michel Schonberg (music), Alain Boublil & Herbert Kretzmer (lyrics, book), John Napier (design), David Hersey (lighting), Andreane Neofitou (costumes), Jon Weston (sound), Christopher Jahnke (new orchestrations), Stephen Metcalfe (co-orchestrator)
Starring: Alexander Gemignani (Jean Valjean), Norm Lewis (Javert), Lea Salonga (Fantine), Thenardier (Gary Beach), Jenny Galloway (Mme. Thenardier), Zach Rand (Gavroche), Megan McGillis (u, Eponine), Ali Ewoldt (Cosette), Aaron Lazar (Enjolras), Adam Jacobs (Marius), Drew Sarich (Grantaire)
When I saw the show in January, the production obviously suffered from an identity crisis. On the one hand, it wanted to remain faithful to the memory so engrained in the minds of its devoted audience. On the other hand, it wanted to be fresh, new and relevant. The producers and creative directors could not seem to decide, though, what they really wanted to do with the show. Moreover, the young cast showed its inexperience or, at least, its difficulty in re-defining roles that had been played by so many so well. Even the more experienced actors showed they couldn’t necessarily inhabit the roles in a successful way. The results were very varied, and the production as a whole suffered, especially when compared to the original, but more importantly, on an artistic level.
Well, even with some questionable directorial decisions, the cast now playing this show demonstrates what good actors can do to transform a production. Although the cast is largely the same as it was in January, with the actors having a few additional months playing those roles, and with a key casting change, the production that lagged so badly before is now a near triumph. It’s as if this is a whole different production.
Leading the charge is Lea Salonga, an experienced actress who not only has a history with Schonberg and Boublil, but who shows her own versatility in taking on and embracing the role of Fantine. Salonga’s performance is sensational – gorgeously sung, beautifully acted, and appropriately tear-inducing at every turn. Because the first half hour of the show is all about Fantine, Salonga’s presence and performance are key to transforming the piece into something memorable.
The other casting change was an understudy, Megan McGillis, filling in for Celia Keenan-Bolger as Eponine. McGillis is perfect in the role, her edgy voice and tough but fragile demeanor filling the stage. Although she loses some of her power in her big Act II moment “On My Own,” in general she sings very well, and her counterpoints during “A Heart Full of Love” are exquisite. McGillis is a vast improvement of Keenan-Bolger, who never really seemed to capture the fragility of Eponine’s character. McGillis’s desperation for Marius is absolutely heartbreaking.
As for the rest of the cast, several of the actors have settled nicely into their roles. Adam Jacobs and Ali Ewoldt, who have been doing some good work, have grown all the more in their roles, and their chemistry is simply fantastic. Jacobs comes across and ernest and lost – he brings just the right amount of enthusiasm to “One Day More” and just the right amount of pathos to his big Act II number “Empty Chairs at Empty Tables.” His duet with Eponine in “A Little Fall of Rain” is beautifully rendered. Meanwhile Ewoldt brings just the right amount of girlist naievete to the role. Her lilting soprano is almost childlike at times, but it is never inappropriate, and more critically, she brings a likability that captures the essence of Cosette’s character. Her duets with Jacobs are marvelous.
Alexander Gemignani has grown into the role of Jean Valjean. Although he is still too young and a little too cool to play this role to its full effect, he at least injects some life into the character’s earlier scenes. We no longer get the character shift that was so jarring when he played the role previously. Instead, his performance is more consistent. Still not quite there, but more consistent. His performance of “Bring Him Home” is beautifully rendered, and is no longer nonsensical or overplayed. It is also nice to report that he is in better vocal form than he was previously, struggling less with the higher range.
The remainder of the cast remains excellent, with Norm Lewis and his silky baritoned Javert as the true standout. Gary Beach and Jenny Galloway are likewise excellent, delivering edgy comic performances. And Aaron Lazar is excellent as Enjolras.
The show retains its smaller and less grand feel. The weak orchestrations and ill-conceived redirection are still lamentable, and do detract from the overall staging. But it is nice to report that the show’s heart has returned from its hiatus. This new new Les Miz is emotionally lifting and gorgeous to listen to, as it should be.
Friday, March 30, 2007
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.
Tuesday, March 20, 2007
Review-The Coast of Utopia: Salvage (3.18.07)
The Coast of Utopia: Salvage (Sunday, 3.18.07)
Vivian Beaumont Theatre, New York City
By: Tom Stoppard, Jack O’Brien (direction)
Starring: Brian F. O’Byrne (Herzen), Matt Dickson (Sasha), Annie Purcell (Tata), Amanda Leigh Cobb (Olga), Felicity LaFortune (Maria Fomm), Jennifer Ehle (Malwida), Mia Barron (Mrs. Blainey), Richard Easton (Count Stanislaw Worcell), Ethan Hawke (Michael Bakunin), Josh Hamilton (Nicholas Ogarev), Martha Plimpton (Natasha Tuchkov Ogarev), Jason Butler Harner (Ivan Turgenev), Kellie Overbey (Mary Sutherland)
In Part One, we watched as a young group of Russian thinkers grabbed the reins from the older group of leaders and plotted their strategy for achieving greater enlightenment. Each man had his own method and vision, and they often clashed. But they all could agree that they were not content with the situation as it was, and that they longed to achieve something greater. Over the course of the first and second parts, we watched as each of these men strived towards their broader goals (criticism of the tsar, freedom of the serfs, revolution), but at the same time struggled with their own existence, their own personal relationships, and their own disappointments. Herzen (O’Byrne), an aristocrat who believed in freeing the serfs, lay at the center of these struggles.
In Part Three, Herzen remains at the center, but new, younger characters are entering. As he struggles to deal with the loss of his wife and child, he inhabits a new world, including an affair with his best friend’s wife, Natasha Ogarev (Plimpton) with whom he has several children (including twins who perish in disease-ridden Paris). Herzen also comes to battle the new guard, new young revolutionaries who are not content with the battles or methods of the past. Of course, Bakunin embraces these youths, but Herzen is much more circumspect.
Herzen also must come to grips that his victories are not what they seem. When the serfs are finally freed, Herzen and the others celebrate their bloodless victory, as it came by decree of the tsars. Only later do they realize the hollowness of their victory, since the serfs do not own the land they once occupied, and essentially become economic slaves to their former masters. It is a disappointing moment when Herzen realizes the failure, which puts into perspective a lifetime worth of work.
Part Three is not quite as compelling as the gripping Part II, but it is a fitting end to a truly epic trilogy of plays. What makes this production so impressive is its core of fine actors playing a multitude of roles. In Part Three, Jennifer Ehle takes on the part of the German nanny and tutor Malwida, whose impact is so great that she even takes away Olga (Cobb) who becomes Italian and forgets even how to speak Russian. She is wonderful in the role, and it is a nice counterpoint since she played the girl’s mother in Part Two. Other cameos are equally compelling, including Richard Easton’s bumbling but well-intentioned play as the Polish Count Stanislaw Worcell, a revolutionary who sacrifices his family and home in order to lead the cause (and, who Herzen notes Worcell’s sacrifices and wonders where it got him). Josh Hamilton and Jason Butler Harner continue their fine work as Ogarev and Turgenev, the latter in particular deriving more laughs out of his material.
Part Three feels like the conclusion, and as a result, there is a feeling of complacency or resolution. It is humorous and a times touching, but lacks the headiness of Part I or the emotional depth of Part II. That said, it is very engaging, and the fine performances are noted throughout.
In the end, this production should be noted for its fine direction and inventive staging. With its glossy sets, its use of sheets and simple props and well-placed (and well-composed) music, this is a sterling production worthy of the fine cast assembled. The play is a good, though not great one, but it is the production that makes it noteworthy.
Saturday, March 10, 2007
Review - Talk Radio (3.08.07)
Talk Radio (Thursday, 3.08.07)
Longacre Theatre, New York City
By: Eric Bogosian, Robert Falls (direction)
Starring: Liev Schreiber (Barry Champlain), Michael Laurence (Stu Noonan), Kit Williamson (Spike), Cornell Womack (Bernie), Peter Hermann (Dan Woodruff), Stephanie March (Linda MacArthur), Marc Thompson (Vince Farber), Christy Pusz (Jordan Grant), Sebatstian Stan (Kent), Barbara Rosenblat (Dr. Susan Fleming), Christine Pedi (Rachael)
Is he crazy? Is he genuine? Is he going to lose it?
The main conceit of “Talk Radio” is that the radio host, Barry Champlain, is a man on the edge. Because he is on the edge, we the audience should always wonder whether or not he will be okay. Barry Champlain’s radio persona is that of a man on the edge.
As Champlain, Schreiber is captivating. When he is talking, it is difficult to focus on anything else other than him. He is funny, outrageous, poignant – all the things you would expect in a successful radio host. He lets loose, but even when he does, you always get the sense that he is in control, even when he breaking down.
Herein lies the problem.
Schreiber’s Champlain is a thinking man. He is quick witted and quick tempered, unpredictable. But he’s always in control, and you always sense he will be ok. Even though he is a joy to watch and is very entertaining, one wonders why he isn’t more on the edge. There is no suspense, no worry about the character, no real edge.
Unfortunately, this is no small flaw. There is really no salvaging the production with the wrong actor in the lead role, and unfortunately, Schreiber is not the right actor. He is a terrific one, to be sure, a thinking actor who showed his chops in Glengarry Glen Ross. But here, his cerebral quality doesn’t allow him or his character to reach the heights if you really had that sense of unease about the character.
The remainder of the production is fine, although the play suffers whenever Champlain is no the center of attention. In particular, when the secondary characters step out for their monologues. The play would have been better streamlined if it simply focused on Champlain at all times. Of course, it would also have been better with a more appropriately cast actor in the lead role.
Longacre Theatre, New York City
By: Eric Bogosian, Robert Falls (direction)
Starring: Liev Schreiber (Barry Champlain), Michael Laurence (Stu Noonan), Kit Williamson (Spike), Cornell Womack (Bernie), Peter Hermann (Dan Woodruff), Stephanie March (Linda MacArthur), Marc Thompson (Vince Farber), Christy Pusz (Jordan Grant), Sebatstian Stan (Kent), Barbara Rosenblat (Dr. Susan Fleming), Christine Pedi (Rachael)
Is he crazy? Is he genuine? Is he going to lose it?
The main conceit of “Talk Radio” is that the radio host, Barry Champlain, is a man on the edge. Because he is on the edge, we the audience should always wonder whether or not he will be okay. Barry Champlain’s radio persona is that of a man on the edge.
As Champlain, Schreiber is captivating. When he is talking, it is difficult to focus on anything else other than him. He is funny, outrageous, poignant – all the things you would expect in a successful radio host. He lets loose, but even when he does, you always get the sense that he is in control, even when he breaking down.
Herein lies the problem.
Schreiber’s Champlain is a thinking man. He is quick witted and quick tempered, unpredictable. But he’s always in control, and you always sense he will be ok. Even though he is a joy to watch and is very entertaining, one wonders why he isn’t more on the edge. There is no suspense, no worry about the character, no real edge.
Unfortunately, this is no small flaw. There is really no salvaging the production with the wrong actor in the lead role, and unfortunately, Schreiber is not the right actor. He is a terrific one, to be sure, a thinking actor who showed his chops in Glengarry Glen Ross. But here, his cerebral quality doesn’t allow him or his character to reach the heights if you really had that sense of unease about the character.
The remainder of the production is fine, although the play suffers whenever Champlain is no the center of attention. In particular, when the secondary characters step out for their monologues. The play would have been better streamlined if it simply focused on Champlain at all times. Of course, it would also have been better with a more appropriately cast actor in the lead role.
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.
Tuesday, February 20, 2007
Review - Company (2.16.07)
Company - Friday, 2.16.07
Barrymore Theatre, New York City
By: Stephen Sondheim (music, lyrics), George Furth (book), John Doyle (direction)
Starring: Raul Esparza (Robert), Barbara Walsh (Joanne), Keith Buterbaugh (Harry), Matt Castle (Peter), Robert Cunningham (Paul), Katrina Yaukey (u, Marta), Kelly Jeanne Grant (Kathy), Kristin Huffman (Sarah, Act I), Renee Bang Allen (u, Sarah, Act II), Amy Justman (Susan), Heather Laws (Amy), Leenya Rideout (Jenny), Fred Rose (David), Bruce Sabath (Larry), Elizabeth Stanley (April)
Fresh off my third viewing of Spring Awakening, I got my second viewing of the new Broadway production of Company. Though some 30 years older, Company still comes across as fresh and inviting as does Broadway’s latest Spring darling. Thanks to John Doyle’s brilliant direction and one of the most talented casts ever assembled, this show does not disappoint.
At the center of this remarkable production is Raul Esparza, who, as ever, is a charismatic and likeable presence. It is Esparza’s remarkable journey of sorts which makes Company so satisfying. His wonderful delivery of the classic songs, his wry delivery of the comic lines, and his likability make Bobby come to life. He is a character you root for, and he is the reason why “Being Alive” ends up being such a powerful number.
But the show is not just about Bobby, it is also about his friends, and in this cast it is a remarkable group. Critics who complain that the cast is unmemorable have missed the point – if there is nothing “memorable” about individual characters, this is by design. It is also because there is not a single weak link in the cast. I was especially impressed by Heather Laws’ wonderful turn as Amy – before she utters a single word of her fast-mouthed diatribe, one can simply sense the panic from the look on her face. She is, throughout, an absolute delight. Barbara Walsh is, of course, very memorable as Joanne, and her rendition of “The Ladies Who Lunch” is truly astounding. Kristin Huffman and Keith Buterbaugh have some great moments in “The Little Things You Do Together,” and Fred Rose and Leenya Rideout are fun when they are getting stoned, and Matt Castle and Amy Justman are memorable as the couple who strengthens their relationship by getting a divorce. Both the men and women sing terrifically well, and they play their instruments even better. Katrina Yaukey delivers a terrific version of “Another Hundred People,” while Elizabeth Stanley is wonderfully vacuous as April.
If it is the inventiveness of the staging and design that make this Company glitter and glisten, it is also the quality of its cast that makes it sing. Number after number, the production celebrates and honors its creators. Boasting one of the best of Sondheim’s career, this show is one that deserves to sound fresh and innovative. Company was innovative when it first premiered in the 70s – there is nothing less innovative about its appearance on Broadway more than 30 years later.
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.
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.
Tuesday, January 30, 2007
Review-The Light in the Piazza (1.28.06)
The Light in the Piazza (Saturday, 1.28.06)
Vivian Beaumont Theatre, New York, NY
By: Adam Guettel (music, lyrics), Craig Lucas (book)
Starring: Victoria Clark (Margaret Johnson), Katie Clarke (Clara Johnson), David Burnham (Fabrizio Naccarelli, u/s), Chris Sarandon (Signor Naccarelli), Michael Berresse (Giuseppe Naccarelli), Sara Uriarte Berry (Franca Naccarelli), Patti Cohenour (Signora Naccarelli), Beau Gravitte (Roy Johnson)
This is my first viewing of this show since the major cast changes, and the good news to report is that it is still a strong piece. While none of the replacement actors is as strong as strong as the actors they replace, each brings their own qualities, and still connect in this remarkably beautiful piece. Still soaring is Adam Guettel’s tremendous score, and still touching is Craig Lucas’ beautifully constructed book. This was and remains the most beautiful and most touching new musical of last season.
Katie Clarke joins the cast as the fresh new Clara Johnson. Clarke looks the part and is particularly good as a sweet-faced 12-year-old, what she lacks is that soaring soprano which transforms easily into the more sensual 26-year-old woman that she really is. It is difficult, because Clarke replaced Kelli O’Hara, probably the perfect actress for the part, and by that yardstick she fails miserably. But she is a passable replacement, and certainly over time will grow into the part.
Understudying for Aaron Lazar is David Burnham, who is clearly having fun in a role that is a really well beyond his reach both vocally and dramatically. Burnham seems to be trying a little too hard in all respects. He is obviously playing the character, but he never really inhabits it like his predecessors. Nevertheless, it is fun to see an actor really relish his opportunity to go on stage.
Chris Sarandon is probably the best replacement of the three. His Naccarelli is a little more stern and a little less charming, but equally as compelling and appropriate for his character. He doesn’t sing particularly well, but the character doesn’t really call for that anyway. He counterbalances Victoria Clark’s performance quite well.
Victoria Clark is still the center of this show, and her performance is as rich and as moving, both vocally and dramatically, as ever. Each of her big numbers, particularly Fable, is so beautifully performed, and she peppers in her tremendous comic timing throughout the show. Her performance is truly a revelation, the kind of performance that marks a career. She makes the show truly memorable.
Vivian Beaumont Theatre, New York, NY
By: Adam Guettel (music, lyrics), Craig Lucas (book)
Starring: Victoria Clark (Margaret Johnson), Katie Clarke (Clara Johnson), David Burnham (Fabrizio Naccarelli, u/s), Chris Sarandon (Signor Naccarelli), Michael Berresse (Giuseppe Naccarelli), Sara Uriarte Berry (Franca Naccarelli), Patti Cohenour (Signora Naccarelli), Beau Gravitte (Roy Johnson)
This is my first viewing of this show since the major cast changes, and the good news to report is that it is still a strong piece. While none of the replacement actors is as strong as strong as the actors they replace, each brings their own qualities, and still connect in this remarkably beautiful piece. Still soaring is Adam Guettel’s tremendous score, and still touching is Craig Lucas’ beautifully constructed book. This was and remains the most beautiful and most touching new musical of last season.
Katie Clarke joins the cast as the fresh new Clara Johnson. Clarke looks the part and is particularly good as a sweet-faced 12-year-old, what she lacks is that soaring soprano which transforms easily into the more sensual 26-year-old woman that she really is. It is difficult, because Clarke replaced Kelli O’Hara, probably the perfect actress for the part, and by that yardstick she fails miserably. But she is a passable replacement, and certainly over time will grow into the part.
Understudying for Aaron Lazar is David Burnham, who is clearly having fun in a role that is a really well beyond his reach both vocally and dramatically. Burnham seems to be trying a little too hard in all respects. He is obviously playing the character, but he never really inhabits it like his predecessors. Nevertheless, it is fun to see an actor really relish his opportunity to go on stage.
Chris Sarandon is probably the best replacement of the three. His Naccarelli is a little more stern and a little less charming, but equally as compelling and appropriate for his character. He doesn’t sing particularly well, but the character doesn’t really call for that anyway. He counterbalances Victoria Clark’s performance quite well.
Victoria Clark is still the center of this show, and her performance is as rich and as moving, both vocally and dramatically, as ever. Each of her big numbers, particularly Fable, is so beautifully performed, and she peppers in her tremendous comic timing throughout the show. Her performance is truly a revelation, the kind of performance that marks a career. She makes the show truly memorable.
Sunday, January 28, 2007
Review-The Voysey Inheritance (1.20.07)
The Voysey Inheritance (Saturday, 1.20.07)
Atlantic Theatre, New York City
By: Harley Granville Barker, adapted by David Mamet
Starring: Michael Stuhlbarg (Edward Voysey), Samantha Soule (Alice Maitland), Judith Roberts (Mrs. Voysey), Peter Maloney (George Booth), Fritz Weaver (Mr. Voysey), Steven Goldstein (Mr. Peacey), C.J. Wilson (Major Booth Voysey), Geddeth Smith (Rev. Evan Colpus), Tricia Paoluccio (Ethel Voysey), Rachel Black (Honor Voysey), Christopher Duva (Trenchard Voysey), Todd Weeks (Hugh Voysey)
Maintaining true to one’s moral center is difficult when one has to face the problem of balancing moral principles with taking care of one’s family. Such is the central premise of The Voysey Inheritance, which pits the morals of the younger Edward Voysey (Michael Stuhlbar), who learns shortly before his father’s death that the father has been improperly handling the firm’s accounts. After his father’s death, Edward decides he must continue to conceal this family secret, all the while attempting to make amends to the clients who have, without their knowledge, been bilked of their entire savings.
Voysey is faced, however, with a largely ungrateful family that is more concerned about its well-being, and with some difficult clients who, upon learning the secret, decide to attempt to blackmail him in order to save their own fortunes, even if at the expense of others. It is never quite clear whether Voysey is in fact being true to his own articulated principles, or whether he is simply talking the talk while doing something else. While there is nothing in Edward’s outer character or actions to suggest he is not being genuine, it is the trick of human nature that leads us to believe he may be deceiving us.
With this as the backdrop, Mamet’s new version of this classic play hops along at a quick pace. Mamet’s script is excellent – it is filled with humor and biting exchanges, and it is sufficiently ambiguous as to make us continually wonder if we really know what is going on. As Edward, Michael Stuhlbarg is quite good. His character is stilted and stiff, but there is a sense of question that he brings to the role that enhances the uncertainty.
There are several other quite good performances to accompany Mr. Stuhlbar’s, including Peter Maloney’s cantancorous George Booth and Steven Goldstein’s seemingly loyal but ultimately despicable Mr. Peacey. The ladies in the cast are also excellent, particularly Samantha Soule’s turn as Alice Maitland and Judith Robert’s fun portrayal of Mrs. Voysey.
The set is beautifully designed and fits appropriately in the Atlantic’s main stage. But it is Mamet’s script that crackles and pops to great effect. There is nothing dated about the Voysey Inheritance. It comes across as fresh and lively as it must have been the day it first premiered.
Atlantic Theatre, New York City
By: Harley Granville Barker, adapted by David Mamet
Starring: Michael Stuhlbarg (Edward Voysey), Samantha Soule (Alice Maitland), Judith Roberts (Mrs. Voysey), Peter Maloney (George Booth), Fritz Weaver (Mr. Voysey), Steven Goldstein (Mr. Peacey), C.J. Wilson (Major Booth Voysey), Geddeth Smith (Rev. Evan Colpus), Tricia Paoluccio (Ethel Voysey), Rachel Black (Honor Voysey), Christopher Duva (Trenchard Voysey), Todd Weeks (Hugh Voysey)
Maintaining true to one’s moral center is difficult when one has to face the problem of balancing moral principles with taking care of one’s family. Such is the central premise of The Voysey Inheritance, which pits the morals of the younger Edward Voysey (Michael Stuhlbar), who learns shortly before his father’s death that the father has been improperly handling the firm’s accounts. After his father’s death, Edward decides he must continue to conceal this family secret, all the while attempting to make amends to the clients who have, without their knowledge, been bilked of their entire savings.
Voysey is faced, however, with a largely ungrateful family that is more concerned about its well-being, and with some difficult clients who, upon learning the secret, decide to attempt to blackmail him in order to save their own fortunes, even if at the expense of others. It is never quite clear whether Voysey is in fact being true to his own articulated principles, or whether he is simply talking the talk while doing something else. While there is nothing in Edward’s outer character or actions to suggest he is not being genuine, it is the trick of human nature that leads us to believe he may be deceiving us.
With this as the backdrop, Mamet’s new version of this classic play hops along at a quick pace. Mamet’s script is excellent – it is filled with humor and biting exchanges, and it is sufficiently ambiguous as to make us continually wonder if we really know what is going on. As Edward, Michael Stuhlbarg is quite good. His character is stilted and stiff, but there is a sense of question that he brings to the role that enhances the uncertainty.
There are several other quite good performances to accompany Mr. Stuhlbar’s, including Peter Maloney’s cantancorous George Booth and Steven Goldstein’s seemingly loyal but ultimately despicable Mr. Peacey. The ladies in the cast are also excellent, particularly Samantha Soule’s turn as Alice Maitland and Judith Robert’s fun portrayal of Mrs. Voysey.
The set is beautifully designed and fits appropriately in the Atlantic’s main stage. But it is Mamet’s script that crackles and pops to great effect. There is nothing dated about the Voysey Inheritance. It comes across as fresh and lively as it must have been the day it first premiered.
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