What makes a person a “Golden Boy?” The mass public; they simply look for the guy who can sell the image and then simply give him them the title. That’s what happens to Joe Bonaparte in Clifford Odet’s Golden Boy. One gets thrown to the top; however when things go sour, just see how fast people drop will drop you.The plot revolves around 21-year-old Joe, a New York kid torn between music and boxing as the path to his success. Which road to choose? It’s a classic conflict. Joe’s father, an Italian immigrant, played by Tony Shalhoub, wants his son to pursue playing the violin as his life and career, but Joe is drawn to brawling and the fame and fortune that it can bring. His choice brings sweet success, but only in the short run.Seth Numrich (War Horse) plays Joe Bonaparte, the sensitive son whose hunger for the big-time American dream makes him choose between a life as Violin player and a professional boxer. In almost three hours, we watch an actor transform physically into a convincing fighting machine and, ultimately, to a barely recognizable monster of sharp edges and shadows. Numrich truly delivers another inspiring performance. Yvonne Strahovski, making her Broadway debut, played Lorna Moon - the love interest. Strahovski delivered a very simple performance that didn’t leave the audience feeling anything for her throughout the play; she was not a point of focus (other then when her accent would slip out). Danny Mastrogiorgio (A Steady Moon) and Anthony Crivello (Kiss of the Spider Woman) were the manager of Joe, Tom Moody, and Eddie Fuseli. Mastrogiogio and Cirvello were essentially good cop/bad cop and played off of each other very well. Cirvello was a bit cartoony at times making him difficult to take him seriously at times; while Mastrogiorgio seemed to sell his character more and more as the show went on. Mastrogiorgio and Strahovski were a love interest throughout the play but the audience wouldn’t know by their lack of attraction for each other. Tony Shalhoub (Lend Me a Tenor) played Mr. Bonaparte, the loving Italian father of Joe. Shalhoub ripped out the hearts of every audience member leaving everyone in tears. He delivers an incredible and Tony Award winning performance. Michael Aronov (Blood and Gifts) and Dagmara Dminczyk (The Violet Hour) portrayed over excited Siggie and adorable Anna, the madly in love married couple. Aronov and Dminczyk were the two people the audience wanted to watch; the chemistry on stage was impeccable. The ensemble stand out of the evening was Brad Fleischer (Bengal Tiger at the Baghdad Zoo) taking on the minor, but challenging role of Pepper White - washed up boxer. Fleicher was maybe in about ten minutes of the entire show; however that did not matter because he left the audience remembering Pepper White.This production team is the dream team of Broadway; everything they created for the intense period show came over visually stunning. Directing this tough drama was Bartlett Sher (Blood and Gifts). Sher created great visual images and never left the audience feeling bored or lost (not once did Sher having us feeling the length of the three hour play). Catherine Zuber (South Pacific) did the costume design; it appeared as if Zuber ripped every costume piece out of a 1930’s movie, truly inspirational. The light design was done by Donald Holder (Annie). Holder has created many a mater piece and this is no exception to his recent designs, he created a comfortable and visual stunning atmosphere for the entirety of the show. Michael Yeargan (South Pacific) was responsible for the scenic design which was over all visually pleasing for a majority of the show but a lot of the time seemed 2 dimensional. Also a truck could have been driven through some of the set changes; every single one seemed to drag on to be what seemed to be forever. Thankfully the subpar set did not bring down the rest of the technical aspects.Golden Boy embodies what there needs to be more of on Broadway. The performance was truly inspiring to watch and should not be missed by any serious theatre goer. Golden Boy runs through January 20, 2013 at the Belasco Theatre - don’t miss out.
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Saturday, 29 December 2012
Tuesday, 18 December 2012
Bare @ New World Stages Stage 4
Faggot. This word is used every day, but nobody understands the type of impact it can have on people when it is used. How much it hurts. The world each day has tons of teens coming out and being ridiculed because they are a little different; they don’t fit the status quo. Bare explores how media and word of mouth can affect a person’s life.Bare is an exhilarating new rock musical that follows a group of teens trying to navigate the tightrope to adulthood over the minefield of high school. Along with their teachers, they will wrestle with issues of identity, sexuality, religion and love.Jason Hite, in his Off-Broadway debut, led the cast as Jason, the confused popular guy, who is just trying to make his way through high school. Hite poured his heart and soul into this role and left the audience begging for more. Taylor Trensch (Wicked) played opposite Hite as his star crossed lover Peter. It was clear to the audience the Peter was madly in love with Jason, and had the audiences heart breaking every time Jason broke his heart. Hite and Trensch are a match made in heaven - both with a long career ahead of them. Elizabeth Judd (Spider-man: Turn Off the Dark) played the new school transfer Ivy. Judd was incredible to watch and had the audience in the palm of her hand. After everything that was going on in the show, she never let the audience forget about poor old Ivy. Gerard Canonico (Spring Awakening) portrayed Matt, the popular but miss understood good boy. Canonico acted with passion, yet somehow fell flat next to this power house cast. He gave the audience nothing that could help us remember him except for the part where he is a key point the climax of the show. Barrett Wilbert Weed (Lysistrata Jones) played Nadia, the drug selling sister of Jason. Weed had wonderful voice and a great acting talent, but there were times in the show where she looked dead in the eyes and appeared absent. Jerold E. Solomon (South Pacfic) and Missi Pyle (Boeing – Boeing) played the two adults of the school - Father Mike and Sister Joan. Solomon was the Reverend of the school and his outlook on things that did not agree with the religion can really make a person sick, Solomon delivered his role with respect and dignity. Pyle was the fresh new teacher who just transferred in to the school that was more into the health and well being of the students rather then what the religion says is right. Pyle had an honest quality about her and a wonderful singing voice to top it off. Pyle also played the stage diva, The Virgin Mary, and created a wonderful show stopping number. The ensemble stand out of the show was Alice Lee (Spider-Man: Turn off the Dark) who plays Diana, the naïve friend of Peter. She brought an exciting and fun energy to the stage and had the audience rolling on the floor laughing during the song “Best Friends”.Stafford Arima has done it again folks; fresh off his run of the reworked and revisited Broadway flop Carrie: the Musical, Arima had another chance to work with a reworked musical and did not disappoint. It was clear that this was Arima’s work because it was full of sharp movement and blocking that constantly moved, but that always seems to work for him. Donyale Werle (Peter and the Starcatcher) did the set design and this Tony Award winning designer did not disappoint once again. She kept the set nice and simple, with crosses everywhere and pictures wallpapering the walls. It was just simple enough to give the show the type of impact the show needed. Howell Binkley (A Christmas Story) did the light design. Binkley kept the show bright and colorful until the show started to get more dark and emotional where he made the lighting do the same thing. William Cusick (The Coast of Utopia) did the projection design and for this updated show, projection was just what it needed especially during the climax of the show.The world needs to know how harsh the media is and how harsh words are. Separate they can do minimal damage but together, they can cause catastrophic damage to a person. Head down to New World Stages and check out Bare: the Musical.
Thursday, 29 November 2012
Dead Accounts @ Music Box Theatre
What happens when someone dies and no one keeps track of the money that is just sitting in their bank account? What happens to all that money? It just sits there, no one touches it, no one looks for it and no one keeps track of it. This account simply turns into a “dead account” and the money just sits there in the bank. Teresa Rebeck’s new play Dead Accounts explains what happens when someone gets their hand on those dead accounts.
Jack (Norbert Leo Butz) returns home to Cincinnati out of nowhere and leaves his sister Lorna (Katie Holms) and Barbara (Jayne Houdyshell) wondering why he has left his life in New York City. When Jack gets home Lorna suspects something because he is acting kind of strange and all of a sudden has all of this money. Jack informs his old friend Phil (Josh Hamilton) that him and his wife Jenny (Judy Greer) are getting a divorce, Phil tells Lorna and Lorna calls Jenny to give her apologies for the divorce. The next morning Jenny shows up to Cincinnati and explains to Jack’s family that Jack has done something outrageous and demands that he fixes what he has done.
Norbert Leo Butz (Catch Me If You Can) leads the cast as the suddenly rich and high strung Jack. Butz lights up the stage with his high energy and lively sense of humor. He truly brought light to the character and kept the audience drawn in for the entire time he was on stage. Katie Holms (All My Sons) played the underappreciated and realistic little sister Lorna. Unfortunately, Holms could not match Butz’s energy and let her character fall flat. There was no emotion behind her character, all the lines were there and she understood where the emotion was supposed to be but she just seemed empty when she delivered her lines. Making her Broadway debut was Judy Greer (television's Arrested Development) as the uptight, rude, cynical wife of Jack, Jenny. Greer was truly wonderful, it’s never easy to switch from doing so much TV and film to go to the stage, the acting technique is completely different. On stage the actor has to over exaggerate every emotion and every movement, whereas on TV they can tone it done a bit. Being such a TV and Film veteran, Greer has some TV and Film acting tendencies but overall she really brought her character to life. Josh Hamilton (Proof) portrayed the timid and shy friend Phil. Hamilton was a delight to watch and really made the audience feel for him and fall in love with his character. Last, but not least, was Jayne Houdyshell (Follies) as the worried and loving mother, Barbara. Hougyshell put so much warmth in her performance, great choice to round out this already talented cast.
Teresa Rebeck (Seminar) has done it once again everybody. This woman is storming Broadway and TV with her outstanding plays and Dead Accounts is no exception to that fact. There was just enough drama and comedy to go around. Although the script was fantastic, Rebeck left a ton of things open in the end and left the audience yearning for a third act, instead the audience was left very confused by the ending that she did provide. John O’Brian (Catch Me If You Can) was the director of this great play who truly understood the material and conveyed it perfectly to his actors but left this review perplexed as to why he let us watch the scene changes. David Rockwell (Elf) was responsible for the scenic design. Rockwell payed extreme attention to detail from the ceramic plates right down to the linoleum floors, really made the audience feel like they were in a kitchen in the mid-west. The light design was done by David Weiner (Grace), unfortunately his design fell flat, creating a ton of unnecessary shadows and sometimes made it difficult to stay in the scenes.
So what happens when someone gets their hands on a Dead Account? Is it anyone’s money anymore? Does the bank own it now? Is it considered stealing if someone does take it? If it’s no one’s money any more why does it matter, right? Find out what happens at the Music Box Theatre until February 24.
Jack (Norbert Leo Butz) returns home to Cincinnati out of nowhere and leaves his sister Lorna (Katie Holms) and Barbara (Jayne Houdyshell) wondering why he has left his life in New York City. When Jack gets home Lorna suspects something because he is acting kind of strange and all of a sudden has all of this money. Jack informs his old friend Phil (Josh Hamilton) that him and his wife Jenny (Judy Greer) are getting a divorce, Phil tells Lorna and Lorna calls Jenny to give her apologies for the divorce. The next morning Jenny shows up to Cincinnati and explains to Jack’s family that Jack has done something outrageous and demands that he fixes what he has done.
Norbert Leo Butz (Catch Me If You Can) leads the cast as the suddenly rich and high strung Jack. Butz lights up the stage with his high energy and lively sense of humor. He truly brought light to the character and kept the audience drawn in for the entire time he was on stage. Katie Holms (All My Sons) played the underappreciated and realistic little sister Lorna. Unfortunately, Holms could not match Butz’s energy and let her character fall flat. There was no emotion behind her character, all the lines were there and she understood where the emotion was supposed to be but she just seemed empty when she delivered her lines. Making her Broadway debut was Judy Greer (television's Arrested Development) as the uptight, rude, cynical wife of Jack, Jenny. Greer was truly wonderful, it’s never easy to switch from doing so much TV and film to go to the stage, the acting technique is completely different. On stage the actor has to over exaggerate every emotion and every movement, whereas on TV they can tone it done a bit. Being such a TV and Film veteran, Greer has some TV and Film acting tendencies but overall she really brought her character to life. Josh Hamilton (Proof) portrayed the timid and shy friend Phil. Hamilton was a delight to watch and really made the audience feel for him and fall in love with his character. Last, but not least, was Jayne Houdyshell (Follies) as the worried and loving mother, Barbara. Hougyshell put so much warmth in her performance, great choice to round out this already talented cast.
Teresa Rebeck (Seminar) has done it once again everybody. This woman is storming Broadway and TV with her outstanding plays and Dead Accounts is no exception to that fact. There was just enough drama and comedy to go around. Although the script was fantastic, Rebeck left a ton of things open in the end and left the audience yearning for a third act, instead the audience was left very confused by the ending that she did provide. John O’Brian (Catch Me If You Can) was the director of this great play who truly understood the material and conveyed it perfectly to his actors but left this review perplexed as to why he let us watch the scene changes. David Rockwell (Elf) was responsible for the scenic design. Rockwell payed extreme attention to detail from the ceramic plates right down to the linoleum floors, really made the audience feel like they were in a kitchen in the mid-west. The light design was done by David Weiner (Grace), unfortunately his design fell flat, creating a ton of unnecessary shadows and sometimes made it difficult to stay in the scenes.
So what happens when someone gets their hands on a Dead Account? Is it anyone’s money anymore? Does the bank own it now? Is it considered stealing if someone does take it? If it’s no one’s money any more why does it matter, right? Find out what happens at the Music Box Theatre until February 24.
Wednesday, 28 November 2012
Scandalous @ Neil Simon Theatre
It is magnificent how the actions of one can affect the lives of millions; one might even say that the concept itself is proof that miracles do exist. Miracle Aimee was one of the few blessed enough to have the power to change the world. It is difficult to decide whether or not the results of her own struggles show a corrupt fame-seeking woman or an evangelist preacher just trying to share the word of God with as many people as she could; but none can argue with the fact that she changed the life of anyone who encountered her. David Armstrong’s Scandalous, though hidden behind an overly extravagant set, presents Aimee Semple McPherson as someone who, like so many others, is just trying to struggle through the trials of life with the hopes of leaving an impression in the world.
Aimee Kennedy was born and raised on a farm in Canada. Her mother Minnie’s strict religious views constrain Aimee throughout her childhood while her father James Kennedy always seems loving to the young passionate girl. He even amuses her by taking her to a religious gathering held by missionary Robert Semple, who will eventually become Aimee’s first husband, much to her mother’s displeasure. The two take a missionary trip to China and Aimee’s life is changed forever when her young love dies of malaria immediately before she gives birth to their daughter. Aimee and her daughter move home to live with her now divorced mother and during this time she really began to question whether or not God really cared about her. She soon met her second husband, Harold McPherson, who later divorced her, and they had a son together. During this time Aimee has a reawakening with God and her faith is renewed. She begins to go out and preach the word of God. As her sermons became more popular, Aimee and her mother began traveling so that she could reach as many people as possible. Along the way she saved the lives of thousands, one of which was that of Emma Jo Schaeffer, a whorehouse owner, who stayed loyal to Aimee until her death. She also came into contact with many of the rich, the powerful and the famous, which was greatly beneficial to her ‘new’ way of approaching sermons. Aimee began to incorporate theatrics in order to attract a larger audience to the word of God. Her blatant disrespect of the ways of old, along with her affair with her soon to be third husband (and divorce) David Hutton, had older preachers such as Brother Bob in quite a state of despair. Even though pressure was pushing down on Aimee from all sides between her followers, the media and those like Brother Bob, she still managed to be the first women with her own radio license. Her use of the modern technology allowed her to be the first person to ever preach nationwide. Though Aimee’s achievements were great, they came at a terrible cost. Some time after her marriage with Hutton fell through, Aimee disappeared for almost a month. When found, she was brought to trial under the accusations of faking a kidnapping and committing adultery with her sound technician Kenneth Ormiston. The accusations of the trial were mysteriously dropped and Aimee was not arrested. The end of her life was an endless struggle to fight against the media and at this point her own sheer exhaustion. She died of an overdose, still preaching until her last breath. In looking at the tests Aimee faced in her life and the results of those tests, Scandalous questions whether or not her life, while full of sin, had enough repentance in it to be worthy of the praise she gained.Armstrong’s Scandalousis a hard piece to sell due to it’s extremely controversial content. How does one give a biographical piece about a religious person without forcing the religion down the audience’s throats? With this cast, it is not difficult to see how Armstrong achieved such a spectacle. Carolee Carmello, starring as Aimee Semple McPherson, (The Addams Family) completely stole the hearts of everyone present. Her voice alone was phenomenal. On top of that her ability to switch between young Aimee into older more mature Aimee, into Aimee narrating her own life reflects her character’s own well known abilities as a preacher to hold an audience’ attention. Her love of God and sheer passion for making a difference is infectious. She completely embodied her character and it is doubtful that others could accomplish the same feat. Alongside her are Candy Buckley (After the Fall) and Roz Ryan (Chicago) as Minnie and Emma Jo respectively. Candy’s overpowering strictness could make God himself cower, and yet the audience can’t help but fall in love with her. The deep adoration she has for her daughter and for those in need shows that there is warmth under that icy interior. Roz Ryan’s character is one with a grueling past. Her struggles made her hard as stone, but Aimee found a soft spot and showed her the light. Though her character may have a religious epiphany, she doesn’t lose her witty sarcasm that never fails to get a good laugh out of the audience. Along with these three leading ladies are three equally talented men, George Hern, Edward Watts and Andrew Samonsky. George Hern (Wicked) played Aimee’s deeply affectionate father and contrarily, Brother Bob, Aimee’s rival preacher. Hern did a fantastic job at making her father so lovable and Brother Bob so awful. Brother Bob’s prejudices against Aimee and his determination to ruin her made blood boil. Edward Watts (Finian’s Rainbow) played Robert Semple and David Hutton. Though Watts looks the part of the dashing young Semple, his adoration for the lord seems to be only skin deep, which is a problem when playing a well-known religious missionary. It is difficult to imagine that someone seemingly lacking in the deep love of god could inspire someone as passionate as Carmello. Watts does a much more believable job as Hutton. The shallow, selfish and completely enchanting character made hearts swoon enough to distract from his many secrets. Playing opposite of Watts (as David) is Andrew Samonsky (South Pacific) as Kenneth Ormiston. Samonsky was charming, attractive and intelligent, everything that an older woman’s young lover should be. The audience couldn’t help but adore him, especially in comparison to Watt’s character’s true personality. Samonsky’s other character, Harold McPherson, was basically unmemorable. Whether intentional due to the fact that McPherson played a similarly forgettable role in Aimee’s life or unintentional, little can be mentioned of the character. Alongside these leads was a small but vocally very present cast including Sam Strasfeld (Mary Poppins), Joseph Dellger (The Gershwin’s Porgy and Bess) and Billie Wildrick (Broadway Debut), who appear in a variety of eccentric characters. The ensemble does a wonderful job of portraying the array of people Aimee came in contact with during her ministrations. Audiences experience everything from religious conservative farmers, and crazed followers to media reporters and whores. Overall the cast did a wonderful job of portraying the complicated life of Aimee Semple McPherson.
With strong direction under David Armstrong (creator of Hot N’ Cole) and a beautiful book by Kathie Le Gifford (of television fame – Today), one should not be surprised by the fact that the music by David Pomeranz (West End’s Little Tramp) and David Friedman (film’s Aladdin and the King of Thieves) was enjoyable. The only problem was that mere moments after leaving the theatre, it was near impossible to recall any of the songs. This can be attributed to an ensemble that, though sounding wonderful, was way too loud. Between Musical Director, Joel Fram (Wicked), or Sound Designer, Kevin Travis (Newsies), someone should have noticed that when the ensemble sang, the solo performers were lost completely. Along with difficulty in hearing, the ensemble pieces were accompanied by choreography, by Lorin Latarro (associate choreographer on American Idiot), that didn’t fit the show at all. Most of which was executed poorly. The choreography was very much contemporary while the show itself seemed to be following along the lines of what Aimee would have used to perform her sermons, theatrical but still conservative. The task of clothing the cast goes to Gregory A. Poplyk (Ringling Bros. Barnum & Bailey’s Dragons). His design concept seemed to work well with what the cast was doing. Aimee’s clothing in particular helped accentuate the drastic changes she went through as her life progressed from small town farm girl to a big life city preacher. The most prominent problem with the technical aspects of the show was the scenic design by Walt Spangler (A Christmas Story). Though the set was beautiful and did the task it set out to do, which was replicate the amazement people must have felt walking in to Aimee’s Temple in LA, it was too much. The smaller pieces for individual scenes were great and the tent fabric worked wonderfully for her sermon, but audience members spent a lot of time straining to see around the monstrous columns that made up the proscenium of the stage. Though used very well, a lot of the action was lost in the extravagant set. Last but not in any way least, the task of lighting this ginormous set went to Natasha Katz (Once). The lighting for Scandalous, unlike much of the rest of the technical aspects, was great. Each new location was so distinctly different. The bright sunlight of the farm verses the dim of the city and the theatrical lighting during the sermons really brought a reality to the show.Even though there were some major technical flaws, overall the cast and crew of Scandalousshould be proud of the work they are doing. The powerful performance of Carolee Carmello and her fellow actors and ensemble leave the audience amazed at Aimee’s incredible achievements. The piece speaks a lot about the amazing possibilities of life itself and audiences should definitely experience the wonder of Miracle Aimee in Scandalous.
Aimee Kennedy was born and raised on a farm in Canada. Her mother Minnie’s strict religious views constrain Aimee throughout her childhood while her father James Kennedy always seems loving to the young passionate girl. He even amuses her by taking her to a religious gathering held by missionary Robert Semple, who will eventually become Aimee’s first husband, much to her mother’s displeasure. The two take a missionary trip to China and Aimee’s life is changed forever when her young love dies of malaria immediately before she gives birth to their daughter. Aimee and her daughter move home to live with her now divorced mother and during this time she really began to question whether or not God really cared about her. She soon met her second husband, Harold McPherson, who later divorced her, and they had a son together. During this time Aimee has a reawakening with God and her faith is renewed. She begins to go out and preach the word of God. As her sermons became more popular, Aimee and her mother began traveling so that she could reach as many people as possible. Along the way she saved the lives of thousands, one of which was that of Emma Jo Schaeffer, a whorehouse owner, who stayed loyal to Aimee until her death. She also came into contact with many of the rich, the powerful and the famous, which was greatly beneficial to her ‘new’ way of approaching sermons. Aimee began to incorporate theatrics in order to attract a larger audience to the word of God. Her blatant disrespect of the ways of old, along with her affair with her soon to be third husband (and divorce) David Hutton, had older preachers such as Brother Bob in quite a state of despair. Even though pressure was pushing down on Aimee from all sides between her followers, the media and those like Brother Bob, she still managed to be the first women with her own radio license. Her use of the modern technology allowed her to be the first person to ever preach nationwide. Though Aimee’s achievements were great, they came at a terrible cost. Some time after her marriage with Hutton fell through, Aimee disappeared for almost a month. When found, she was brought to trial under the accusations of faking a kidnapping and committing adultery with her sound technician Kenneth Ormiston. The accusations of the trial were mysteriously dropped and Aimee was not arrested. The end of her life was an endless struggle to fight against the media and at this point her own sheer exhaustion. She died of an overdose, still preaching until her last breath. In looking at the tests Aimee faced in her life and the results of those tests, Scandalous questions whether or not her life, while full of sin, had enough repentance in it to be worthy of the praise she gained.Armstrong’s Scandalousis a hard piece to sell due to it’s extremely controversial content. How does one give a biographical piece about a religious person without forcing the religion down the audience’s throats? With this cast, it is not difficult to see how Armstrong achieved such a spectacle. Carolee Carmello, starring as Aimee Semple McPherson, (The Addams Family) completely stole the hearts of everyone present. Her voice alone was phenomenal. On top of that her ability to switch between young Aimee into older more mature Aimee, into Aimee narrating her own life reflects her character’s own well known abilities as a preacher to hold an audience’ attention. Her love of God and sheer passion for making a difference is infectious. She completely embodied her character and it is doubtful that others could accomplish the same feat. Alongside her are Candy Buckley (After the Fall) and Roz Ryan (Chicago) as Minnie and Emma Jo respectively. Candy’s overpowering strictness could make God himself cower, and yet the audience can’t help but fall in love with her. The deep adoration she has for her daughter and for those in need shows that there is warmth under that icy interior. Roz Ryan’s character is one with a grueling past. Her struggles made her hard as stone, but Aimee found a soft spot and showed her the light. Though her character may have a religious epiphany, she doesn’t lose her witty sarcasm that never fails to get a good laugh out of the audience. Along with these three leading ladies are three equally talented men, George Hern, Edward Watts and Andrew Samonsky. George Hern (Wicked) played Aimee’s deeply affectionate father and contrarily, Brother Bob, Aimee’s rival preacher. Hern did a fantastic job at making her father so lovable and Brother Bob so awful. Brother Bob’s prejudices against Aimee and his determination to ruin her made blood boil. Edward Watts (Finian’s Rainbow) played Robert Semple and David Hutton. Though Watts looks the part of the dashing young Semple, his adoration for the lord seems to be only skin deep, which is a problem when playing a well-known religious missionary. It is difficult to imagine that someone seemingly lacking in the deep love of god could inspire someone as passionate as Carmello. Watts does a much more believable job as Hutton. The shallow, selfish and completely enchanting character made hearts swoon enough to distract from his many secrets. Playing opposite of Watts (as David) is Andrew Samonsky (South Pacific) as Kenneth Ormiston. Samonsky was charming, attractive and intelligent, everything that an older woman’s young lover should be. The audience couldn’t help but adore him, especially in comparison to Watt’s character’s true personality. Samonsky’s other character, Harold McPherson, was basically unmemorable. Whether intentional due to the fact that McPherson played a similarly forgettable role in Aimee’s life or unintentional, little can be mentioned of the character. Alongside these leads was a small but vocally very present cast including Sam Strasfeld (Mary Poppins), Joseph Dellger (The Gershwin’s Porgy and Bess) and Billie Wildrick (Broadway Debut), who appear in a variety of eccentric characters. The ensemble does a wonderful job of portraying the array of people Aimee came in contact with during her ministrations. Audiences experience everything from religious conservative farmers, and crazed followers to media reporters and whores. Overall the cast did a wonderful job of portraying the complicated life of Aimee Semple McPherson.
With strong direction under David Armstrong (creator of Hot N’ Cole) and a beautiful book by Kathie Le Gifford (of television fame – Today), one should not be surprised by the fact that the music by David Pomeranz (West End’s Little Tramp) and David Friedman (film’s Aladdin and the King of Thieves) was enjoyable. The only problem was that mere moments after leaving the theatre, it was near impossible to recall any of the songs. This can be attributed to an ensemble that, though sounding wonderful, was way too loud. Between Musical Director, Joel Fram (Wicked), or Sound Designer, Kevin Travis (Newsies), someone should have noticed that when the ensemble sang, the solo performers were lost completely. Along with difficulty in hearing, the ensemble pieces were accompanied by choreography, by Lorin Latarro (associate choreographer on American Idiot), that didn’t fit the show at all. Most of which was executed poorly. The choreography was very much contemporary while the show itself seemed to be following along the lines of what Aimee would have used to perform her sermons, theatrical but still conservative. The task of clothing the cast goes to Gregory A. Poplyk (Ringling Bros. Barnum & Bailey’s Dragons). His design concept seemed to work well with what the cast was doing. Aimee’s clothing in particular helped accentuate the drastic changes she went through as her life progressed from small town farm girl to a big life city preacher. The most prominent problem with the technical aspects of the show was the scenic design by Walt Spangler (A Christmas Story). Though the set was beautiful and did the task it set out to do, which was replicate the amazement people must have felt walking in to Aimee’s Temple in LA, it was too much. The smaller pieces for individual scenes were great and the tent fabric worked wonderfully for her sermon, but audience members spent a lot of time straining to see around the monstrous columns that made up the proscenium of the stage. Though used very well, a lot of the action was lost in the extravagant set. Last but not in any way least, the task of lighting this ginormous set went to Natasha Katz (Once). The lighting for Scandalous, unlike much of the rest of the technical aspects, was great. Each new location was so distinctly different. The bright sunlight of the farm verses the dim of the city and the theatrical lighting during the sermons really brought a reality to the show.Even though there were some major technical flaws, overall the cast and crew of Scandalousshould be proud of the work they are doing. The powerful performance of Carolee Carmello and her fellow actors and ensemble leave the audience amazed at Aimee’s incredible achievements. The piece speaks a lot about the amazing possibilities of life itself and audiences should definitely experience the wonder of Miracle Aimee in Scandalous.
Monday, 26 November 2012
The Mystery of Edwin Drood @ Studio 54
“There you are!” Do you like something funny? How about an incomplete murder mystery? Well if so then The Mystery of Edwin Drood is for you!
A Victorian English music-hall troupe is presenting its version of “The Mystery of Edwin Drood,” – the last, unfinished novel by Charles Dickens. Since the author never reached the conclusion of his whodunit, and failed to write down the name of the murderer, each night’s audience is asked to select him or her. The victim is the title character, a young boy (played by an actress, Stephanie J. Block). He disappears, and is presumed to have been done away with. Dickens offered a sizable number of suspects: John Jasper (Will Chase), Drood’s opium-eating uncle; the mistress of the opium den, known as Princess Puffer (Chita Rivera); Drood’s former fiancée, Rosa Bud (Betsy Wolfe), an exotic brother and sister from Ceylon (Andy Karl and Jessie Mueller), a seemingly kind minister (Gregg Edelman) and several others.This very talented cast plays the tricky part of two different characters, the person in the musical, and the person playing the person in the musical. Throughout the performance each actor gets a chance to “break character” and show the other side of who they are. Stephanie J. Block (Anything Goes), plays the Young victim of Edwin Drood and the stage diva Miss Alice Nutting. Block gives a dazzling performance as Edwin Drood – she left the audience cry on the floor when she storms out of the theatre during her diva moment. Will Chase (televion’s Smash) portrays the musicals horrible villain John Jasper and Mr. Chive Paget. Chase plays the perfect villain as you watch him fight with his dueling personalities; he contributed the perfect balance of evil and comedy delivering a stunning performance. Jim Norton (Finian’s Rainbow) played the lovable Narrator of the show Mr. William Cartwright and is forced to play the quirky Chairman after one of the “actors” is pulled out of the show. Norton was adorable and created a perfect atmosphere for “both” shows. Chita Rivera (West Side Story) played the wonderful Princess Puffer/Miss Angela Prysock, the owner of the Opem dean and created a since of wisdom with that the actors around them really played off of. Andy Karl (Legally Blonde) and Jessie Mueller (Shakespeare in the Park’s Into the Woods) played the foreign twins Neville & Helena Landless. Karl and Mueller played really well off of each other and created two really well developed characters. Although they played well together, Mueller not only shined with her partner and with the rest of the cast but she really stood out and stole the show, She is truly an up and coming Broadway Star.
Scott Ellis (Harvey) really created something special while directing this amazing show. He payed attention to every details and filled up every gap and the audience was never bored from when the show started to when it ended. The scenic design by Anna Louizos (The Performers) was truly outstanding and inspiring. She filled the theatre with Christmas decorations and really made the audience feel like they were in the opera house where they were putting on “The Mystery of Edwin Drood.” The light design by Brian Nason (Three Penny Opera) was not so inspired unfortunately. The audience could tell that he is very talented but that fact was overlooked as they were blinded by the flashing lights as they came in and during the intermission.So if you find yourself in the city and are looking for both something funny and a murder mystery, head to Studio 54 and check out The Mystery of Edwin Drood. Hiss at the Villains, cheer for the heroes, and choose the Killer! It’s up to you to have a say and see who done it!
A Victorian English music-hall troupe is presenting its version of “The Mystery of Edwin Drood,” – the last, unfinished novel by Charles Dickens. Since the author never reached the conclusion of his whodunit, and failed to write down the name of the murderer, each night’s audience is asked to select him or her. The victim is the title character, a young boy (played by an actress, Stephanie J. Block). He disappears, and is presumed to have been done away with. Dickens offered a sizable number of suspects: John Jasper (Will Chase), Drood’s opium-eating uncle; the mistress of the opium den, known as Princess Puffer (Chita Rivera); Drood’s former fiancée, Rosa Bud (Betsy Wolfe), an exotic brother and sister from Ceylon (Andy Karl and Jessie Mueller), a seemingly kind minister (Gregg Edelman) and several others.This very talented cast plays the tricky part of two different characters, the person in the musical, and the person playing the person in the musical. Throughout the performance each actor gets a chance to “break character” and show the other side of who they are. Stephanie J. Block (Anything Goes), plays the Young victim of Edwin Drood and the stage diva Miss Alice Nutting. Block gives a dazzling performance as Edwin Drood – she left the audience cry on the floor when she storms out of the theatre during her diva moment. Will Chase (televion’s Smash) portrays the musicals horrible villain John Jasper and Mr. Chive Paget. Chase plays the perfect villain as you watch him fight with his dueling personalities; he contributed the perfect balance of evil and comedy delivering a stunning performance. Jim Norton (Finian’s Rainbow) played the lovable Narrator of the show Mr. William Cartwright and is forced to play the quirky Chairman after one of the “actors” is pulled out of the show. Norton was adorable and created a perfect atmosphere for “both” shows. Chita Rivera (West Side Story) played the wonderful Princess Puffer/Miss Angela Prysock, the owner of the Opem dean and created a since of wisdom with that the actors around them really played off of. Andy Karl (Legally Blonde) and Jessie Mueller (Shakespeare in the Park’s Into the Woods) played the foreign twins Neville & Helena Landless. Karl and Mueller played really well off of each other and created two really well developed characters. Although they played well together, Mueller not only shined with her partner and with the rest of the cast but she really stood out and stole the show, She is truly an up and coming Broadway Star.
Scott Ellis (Harvey) really created something special while directing this amazing show. He payed attention to every details and filled up every gap and the audience was never bored from when the show started to when it ended. The scenic design by Anna Louizos (The Performers) was truly outstanding and inspiring. She filled the theatre with Christmas decorations and really made the audience feel like they were in the opera house where they were putting on “The Mystery of Edwin Drood.” The light design by Brian Nason (Three Penny Opera) was not so inspired unfortunately. The audience could tell that he is very talented but that fact was overlooked as they were blinded by the flashing lights as they came in and during the intermission.So if you find yourself in the city and are looking for both something funny and a murder mystery, head to Studio 54 and check out The Mystery of Edwin Drood. Hiss at the Villains, cheer for the heroes, and choose the Killer! It’s up to you to have a say and see who done it!
Sunday, 21 October 2012
Who's Afraid of Virginia Woolf @ Booth Theatre
Not a single audience member could hide from the games of George and Martha at Edward Albee’s Who’s Afraid of Virginia Woolf? now open at the Booth Theatre. Direct from Chicago’s Steppenwolf Theatre Company, this unique take on a well known Albee classic – directed by Tony-nominated Pam MacKinnon – had members of the audience on the edge of their seat as they quickly became participants of wild party games that expose the innermost truths within us.
…Virginia Woolf takes us into the “dump” of a home of the dynamic duo, George (Tracy Letts) and Martha (Amy Morton). George, an unfulfilled history professor at the local college, and Martha, the witty daughter of the president of the college, invite over a new professor and his wife for some after-party cocktails to welcome and get acquainted with the newcomers. Nick (Madison Dirks) and Honey (Carrie Coon), however, discover that their host and hostess are ready to serve more than Brandy and Bourbon. Through witty storytelling, clever romp, and playful banter, we learn the history of George and Martha including what keeps this couple going strong. Unlike most idealistic couples, their mind games through role playing and insulting each other are what fuels their passion and desire. Initially, we are led to believe that Nick and Honey are a sharp contrast of their hosts: young, idealistic, vital, new generation brilliance; however, throughout their night, we learn about the dark past of the young couple and find that these four human beings have much more in common than they originally thought. As the night progresses, these four become stripped of their dignity and forced to enter a world of honesty and truthfulness, leading us to believe that all games must come to an end despite the consequences.The vibrant storytelling provided by Albee’s text could have easily fallen flat in unworthy hands; however, this was not the case. Tony-nominated Amy Morton (August: Osage County) bares the soul of Martha before she even appears onstage with a contagious laugh that bursts through the front door. I would be remiss to say that Morton creates a “likable” Martha, but that she makes this woman relatable. Martha becomes a woman that you could easily run into at a family gathering and become the life of the party with a story for every soul. The ease, poise, and timing of her moves has you hanging on every word spoken; this was key to the successful portrayal of every line of subtext that existed below the façade of the couple’s antics.
Pulitzer Prize- and Tony Award-winning Tracy Letts (playwright of August: Osage County) creates a George who matches Martha’s wit with a rough hilarity. Most notable is Letts’ ability to create an atmosphere where comfort and warmth could quickly transform into cold, bone-chilling fear in the blink of an eye. Letts’ George is eloquent and sophisticated with a shot of vulgarity that bursts out, demanding your complete attention. George not only gave you a history lesson, he made you a prisoner that kept you thirsty for more – a Stockholm-esque characteristic. Letts makes bold choices that take the character of George and his onlookers deeper into the psyche of humankind, forcing you to question when enough is enough.As a couple, Morton and Letts have a fiery chemistry that can only be described as flawless. Rapid-fire insults, unscripted inside jokes in their physicality, and brutal honesty is what makes this couple not only believable, but loveable. You can’t help but laugh at the brutality of their “Georgie-boy” and “Yes, love” lines. While we understand that these two teeter on the brink of insanity, their love for each other is genuine.
Broadway newcomers Madison Dirks (television’s Chicago Fire) and Carrie Coon (television’s The Playboy Club) create exactly what the party needs, a young George and young Martha; complete with their own skeletons in the closet. Dirks creates a Nick that tries relentlessly to maintain face and integrity despite his youth, attempting to hide naivety. Unfortunately for Nick, his wife Honey has enough naivety to fill the entire college. Coon brings a not-so “mousy” interpretation of the character Honey, allowing her wild side to come up a bit sooner than maybe anticipated. Unlike George and Martha, Nick and Honey seem to already be in a bit a rocky situation in regards to moving on through life. Dirks and Coon exemplify this in a way that fits well with not only their portrayal, but in their chemistry with Letts and Morton.Pam MacKinnon’s (Clybourne Park) overall direction is a crucial part to this unique production. The audience is taken on a 3-hour roller coaster ride that had you thinking ever second of whether you were going to a fall freely, slow down, accelerate and so on. The seamless transitions and game hopping is a must to keep the audience invested in these characters’ downward spiral. Something as simple as a hair pull, a lost temper, or an added glare made this production not just dynamic but distinctive; the stripping down of characters to their bare minds is essential.To house this insanity is a cleverly pieced-together set as well as a simply effective light design. Award-winning Todd Rosenthal (The Motherfucker with the Hat) proves that sets today can be still be thoughtful and eloquent while being functional. This realistic set clearly proves that both Martha and George had a say in who was designing the room: some mismatched furniture and blankets, an expressionistic painting on one wall and a landscape painting on another, and Martha’s magazines along with George’s books and novels. The final element is a subtle yet effective light design by award winner Allan Lee Hughes (Clybourne Park). Like the set, the light design is very realistic but captivates each moment expressively without being distracting. Hughes creates subtle light changes that do not only match the action but intensifies and amplifies the characters’ anger, fears, and frustrations.Steppenwolf’s production Who’s Afraid of Virginia Woolf?is a remarkable piece of art that will leave you breathless from the beginning of each act to the end. Every element of this production is intelligent, witty, clever, and enigmatic, which make for amazing theatre.
…Virginia Woolf takes us into the “dump” of a home of the dynamic duo, George (Tracy Letts) and Martha (Amy Morton). George, an unfulfilled history professor at the local college, and Martha, the witty daughter of the president of the college, invite over a new professor and his wife for some after-party cocktails to welcome and get acquainted with the newcomers. Nick (Madison Dirks) and Honey (Carrie Coon), however, discover that their host and hostess are ready to serve more than Brandy and Bourbon. Through witty storytelling, clever romp, and playful banter, we learn the history of George and Martha including what keeps this couple going strong. Unlike most idealistic couples, their mind games through role playing and insulting each other are what fuels their passion and desire. Initially, we are led to believe that Nick and Honey are a sharp contrast of their hosts: young, idealistic, vital, new generation brilliance; however, throughout their night, we learn about the dark past of the young couple and find that these four human beings have much more in common than they originally thought. As the night progresses, these four become stripped of their dignity and forced to enter a world of honesty and truthfulness, leading us to believe that all games must come to an end despite the consequences.The vibrant storytelling provided by Albee’s text could have easily fallen flat in unworthy hands; however, this was not the case. Tony-nominated Amy Morton (August: Osage County) bares the soul of Martha before she even appears onstage with a contagious laugh that bursts through the front door. I would be remiss to say that Morton creates a “likable” Martha, but that she makes this woman relatable. Martha becomes a woman that you could easily run into at a family gathering and become the life of the party with a story for every soul. The ease, poise, and timing of her moves has you hanging on every word spoken; this was key to the successful portrayal of every line of subtext that existed below the façade of the couple’s antics.
Pulitzer Prize- and Tony Award-winning Tracy Letts (playwright of August: Osage County) creates a George who matches Martha’s wit with a rough hilarity. Most notable is Letts’ ability to create an atmosphere where comfort and warmth could quickly transform into cold, bone-chilling fear in the blink of an eye. Letts’ George is eloquent and sophisticated with a shot of vulgarity that bursts out, demanding your complete attention. George not only gave you a history lesson, he made you a prisoner that kept you thirsty for more – a Stockholm-esque characteristic. Letts makes bold choices that take the character of George and his onlookers deeper into the psyche of humankind, forcing you to question when enough is enough.As a couple, Morton and Letts have a fiery chemistry that can only be described as flawless. Rapid-fire insults, unscripted inside jokes in their physicality, and brutal honesty is what makes this couple not only believable, but loveable. You can’t help but laugh at the brutality of their “Georgie-boy” and “Yes, love” lines. While we understand that these two teeter on the brink of insanity, their love for each other is genuine.
Broadway newcomers Madison Dirks (television’s Chicago Fire) and Carrie Coon (television’s The Playboy Club) create exactly what the party needs, a young George and young Martha; complete with their own skeletons in the closet. Dirks creates a Nick that tries relentlessly to maintain face and integrity despite his youth, attempting to hide naivety. Unfortunately for Nick, his wife Honey has enough naivety to fill the entire college. Coon brings a not-so “mousy” interpretation of the character Honey, allowing her wild side to come up a bit sooner than maybe anticipated. Unlike George and Martha, Nick and Honey seem to already be in a bit a rocky situation in regards to moving on through life. Dirks and Coon exemplify this in a way that fits well with not only their portrayal, but in their chemistry with Letts and Morton.Pam MacKinnon’s (Clybourne Park) overall direction is a crucial part to this unique production. The audience is taken on a 3-hour roller coaster ride that had you thinking ever second of whether you were going to a fall freely, slow down, accelerate and so on. The seamless transitions and game hopping is a must to keep the audience invested in these characters’ downward spiral. Something as simple as a hair pull, a lost temper, or an added glare made this production not just dynamic but distinctive; the stripping down of characters to their bare minds is essential.To house this insanity is a cleverly pieced-together set as well as a simply effective light design. Award-winning Todd Rosenthal (The Motherfucker with the Hat) proves that sets today can be still be thoughtful and eloquent while being functional. This realistic set clearly proves that both Martha and George had a say in who was designing the room: some mismatched furniture and blankets, an expressionistic painting on one wall and a landscape painting on another, and Martha’s magazines along with George’s books and novels. The final element is a subtle yet effective light design by award winner Allan Lee Hughes (Clybourne Park). Like the set, the light design is very realistic but captivates each moment expressively without being distracting. Hughes creates subtle light changes that do not only match the action but intensifies and amplifies the characters’ anger, fears, and frustrations.Steppenwolf’s production Who’s Afraid of Virginia Woolf?is a remarkable piece of art that will leave you breathless from the beginning of each act to the end. Every element of this production is intelligent, witty, clever, and enigmatic, which make for amazing theatre.
Saturday, 6 October 2012
Grace @ Cort Theatre
Religion is a topic that people tend to stay away from when they are sitting around the dinner table. Everyone has a different idea of how it all began and how it will all end. One’s opinion can rapidly change if a miracle or tragedy finds its way into their life. Craig Wright’s new play Grace, shows all of Broadway how easy it is to either find belief or lose it when the quality life starts to change.
The play is about a young married couple Steve (Paul Rudd) and Sara (Kate Arrington) who move to Florida in hopes of starting a new chain of Gospel themed hotels. Steve has all of the plans in place, and is waiting to receive money from a wealthy investor in Sweden to give him the necessary money to start construction. They are visited in the beginning of the play by an exterminator named Karl (Ed Asner) who proclaims them to be “Jesus Freaks” and Steve and Sara learn that not everyone shares their love for God. Steve is forced to search for another source of funding for his hotel project while he is waiting for the Swedish investor, and turns to his next door neighbor Sam (Michael Shannon). Sam is a NASA employee whose fiancé died in a car crash and does not feel that he has a need for religion in his life. Sara and Sam both stay at home all day and quickly become very close with one another. The events of the play force everyone to rethink their idea of what religion means to them, while they fall in and out of God’s grace. Paul Rudd (I Love You Man) leads this star studded cast playing the role of Steve. After .a lengthy hiatus from the Broadway stage, Rudd returns and is not in the least bit rusty. Rudd was able to keep all of the light hearted comedic elements in his performance that he is known for, and masterfully blend them with his ability to be completely serious when he needed to be. The different colors that he is able to put into his performance really allow his character to come to life. He had great physicality, and it was very nice to see Rudd in a role that was a little more serious than that which he is used to.
Steve’s next door neighbor Sam is played by Michael Shannon (HBO’s Boardwalk Empire). Shannon was outstanding in this role. He was able to capture his character’s injury and mentality almost flawlessly. Even though Sam is kind of a jerk at first, Shannon does a great job of making the audience fall in love with him, making the end of the play more and more heartbreaking. Both Rudd and Shannon are famous for a reason, and this play shows off just how good they are at their job. The love interest of both of those men in the play is Sara played by Kate Arrington (The American Plan). In a cast with a great deal of star power, Arrington does a fine job of holding her own. Arrington was very successful in playing opposite of Rudd. Her ability to match his energy was superb. Arrington’s character had a much more passive religious view, where Rudd was actively trying to get people to believe in God, and she did a very good job of providing a balance when he would try to push religion on either Sam or Karl. Even though she is the least known member of the cast, the performance that she gives is just as good as anyone else.
7 time Emmy Award winner Ed Asner (Lou Grant) played the role of Karl the exterminator. Even though he was only on stage in in the beginning and towards the end of the play, his performance was both moving and very funny. His journey into finding a higher power is possibly the most interesting. Asner gives everything he says a great deal of importance, and he is just fun to watch while he is performing. A great show can only be as great as its director. Dexter Bullard (Circle Mirror Transformation Victory Gardens Theater) made some tremendous staging choices that served the play very well. The most important one was having the both Sam’s and Steve’s apartments exist in the same space. This created moments on stage that would have never been realized if they were physically in two separate parts of the stage. It was a brilliant choice by both Bullard and scenic designer Beowulf Borrit (The Scottsboro Boys), and the play would have not been as good as it was without the spacing being set up in the manner that it was.
Grace was most certainly a play that is worth seeing. It has something for both the people who want to laugh and the people who want to leave the theater thinking about something. Everyone involved in the production skillfully demonstrates their abilities, and the audience is rewarded with the wonderful piece of theater that the cast and crew has created.
The play is about a young married couple Steve (Paul Rudd) and Sara (Kate Arrington) who move to Florida in hopes of starting a new chain of Gospel themed hotels. Steve has all of the plans in place, and is waiting to receive money from a wealthy investor in Sweden to give him the necessary money to start construction. They are visited in the beginning of the play by an exterminator named Karl (Ed Asner) who proclaims them to be “Jesus Freaks” and Steve and Sara learn that not everyone shares their love for God. Steve is forced to search for another source of funding for his hotel project while he is waiting for the Swedish investor, and turns to his next door neighbor Sam (Michael Shannon). Sam is a NASA employee whose fiancé died in a car crash and does not feel that he has a need for religion in his life. Sara and Sam both stay at home all day and quickly become very close with one another. The events of the play force everyone to rethink their idea of what religion means to them, while they fall in and out of God’s grace. Paul Rudd (I Love You Man) leads this star studded cast playing the role of Steve. After .a lengthy hiatus from the Broadway stage, Rudd returns and is not in the least bit rusty. Rudd was able to keep all of the light hearted comedic elements in his performance that he is known for, and masterfully blend them with his ability to be completely serious when he needed to be. The different colors that he is able to put into his performance really allow his character to come to life. He had great physicality, and it was very nice to see Rudd in a role that was a little more serious than that which he is used to.
Steve’s next door neighbor Sam is played by Michael Shannon (HBO’s Boardwalk Empire). Shannon was outstanding in this role. He was able to capture his character’s injury and mentality almost flawlessly. Even though Sam is kind of a jerk at first, Shannon does a great job of making the audience fall in love with him, making the end of the play more and more heartbreaking. Both Rudd and Shannon are famous for a reason, and this play shows off just how good they are at their job. The love interest of both of those men in the play is Sara played by Kate Arrington (The American Plan). In a cast with a great deal of star power, Arrington does a fine job of holding her own. Arrington was very successful in playing opposite of Rudd. Her ability to match his energy was superb. Arrington’s character had a much more passive religious view, where Rudd was actively trying to get people to believe in God, and she did a very good job of providing a balance when he would try to push religion on either Sam or Karl. Even though she is the least known member of the cast, the performance that she gives is just as good as anyone else.
7 time Emmy Award winner Ed Asner (Lou Grant) played the role of Karl the exterminator. Even though he was only on stage in in the beginning and towards the end of the play, his performance was both moving and very funny. His journey into finding a higher power is possibly the most interesting. Asner gives everything he says a great deal of importance, and he is just fun to watch while he is performing. A great show can only be as great as its director. Dexter Bullard (Circle Mirror Transformation Victory Gardens Theater) made some tremendous staging choices that served the play very well. The most important one was having the both Sam’s and Steve’s apartments exist in the same space. This created moments on stage that would have never been realized if they were physically in two separate parts of the stage. It was a brilliant choice by both Bullard and scenic designer Beowulf Borrit (The Scottsboro Boys), and the play would have not been as good as it was without the spacing being set up in the manner that it was.
Grace was most certainly a play that is worth seeing. It has something for both the people who want to laugh and the people who want to leave the theater thinking about something. Everyone involved in the production skillfully demonstrates their abilities, and the audience is rewarded with the wonderful piece of theater that the cast and crew has created.
Thursday, 13 September 2012
Chaplin: The Musical @ The Ethel Barrymore Theatre
From England, to Hollywood, to the Great White Way – come back to a time when a laugh was the most important thing, when the world shined a little brighter, even if it was in black and white. Chaplin the Musical provides a charming insight into one of history’s greatest comedians, and what you may not know is that The Tramp was only the beginning. And, as with any great dish, Chaplin provides that secret ingredient that hits the Great White Way with a spice that has the audience coming back for more.
The show tells the rags to riches story of Charlie Chaplin (Rob McClure) and his break into the movie business. He journey’s to Hollywood to take a chance at the “flickers,” leaving behind his brother Sydney (Wayne Alan Wilcox) and his mother, Hannah (Christiane Noll). Chaplin, becomes swept up in the radically different environment he has found himself in and must now create “something funny” to soothe his new director, the ever demanding Sennett McGraney (Michael McCormick). And thus, The Tramp is born, and thrives – despite Chaplin’s failed marriages, and ever changing contracts. The show takes the audience through Chaplin’s rise to fame and his fall during the Red Scare. At the head of the accusations against Chaplin sits Hedda Hopper (Jenn Colella), a budding Hollywood reporter who is furious for Chaplin’s refusal to be a guest on her radio show. Yet, through all the turns and tribulations Chaplin finds love in Oona O’Neill (Erin Mackey) and their loves holds fast as the two face the end of an era and a whole new world of laughs. Rob McClure (Avenue Q) leads this talented cast as Charlie Chaplin. Multitalented does not begin to describe, McClure. It is more accurate to say that this wonderful actor has so many tricks up his sleeves that one could wonder why they aren’t bigger. Between chair juggling, tap dancing on roller skates, and tight rope walking, McClure could have been a show all on his own; and, not to mention, the detailed physicality that McClure displayed when performing as The Tramp. It was if Chaplin himself was on stage, which is the whole point, no? His vocal quality, while not the ringing tenor that Broadway has become so used to hearing, provided a new, interesting sound that gave life to an otherwise silent story. McClure excels in his performance and gives the audience a taste of one of America’s greatest comedic minds.
At the head of the Chaplin family stands Hannah Chaplin, the mother, played by the fantastic Christiane Noll (Urinetown). Noll gave a beautiful depiction of Chaplin’s mentally ill mother, becoming a winding country road that had a new discovery at each bend. Having much of her story told in flashback, Noll portrayed a decline into insanity that tore at the heart. She had a warm, loving touch to her voice that provided a consistent motherly touch to both Chaplin and the audience. When she wept, the audience wept, and what incredible talent it is to have the audience experience what the character experiences, not only physically, but emotionally as well. Brava. Comind out of the same household was actor Wayne Alan Wilcox (The Normal Heart) who provides the supporting net to McClure as Sydney Chaplin. Throughout the show Wilcox becomes the rock that supplies a sense of wisdom in a chaotic world, the classic vanilla scoop in this black and white sundae. His depth and passion provided a strong contrast to the otherwise shallow world of the movie business. Wilcox provided passion and dedication to the role, both strong characteristics in the character of Sydney himself. The audience walked away remembering Chaplin’s brother, who symbolized his roots and provided the path back to reality for the artist.Hedda Hopper, played by Jenn Colella (High Fidelity), provided a new meaning to the term villain; Colella was lively, mischievous, and a fun to watch. Keeping the audience engaged with her luminous vocal quality. Colella sits in that ever famous category of the villain we love to hate. In the simplest terms, Jenn Colella was fun – fun to watch, fun to listen to, fun to be involved with. She was engaging, pulling the audience into her point of view. The pure power she conveyed as Hedda Hopper was pure magic, and her voice just added dimension to an admirable character. Her performance was a true wonder. Leveling out the evil with some kindness was Erin Mackey (Anything Goes) as Oona O’Neill. She offset Chaplin’s comedic chaos with a sweet, innocent wisdom that was refreshing to see amongst the cast. Not only was her vocal talent light, and seemingly effortless, but the chemistry between Mackey and McClure was magical. Able to take serious dialogue and seamlessly mix in comedic banter, McClure and Mackey have the makings of a wonderful Broadway couple.
The cherry on top of this magnificent sundae would have to be Zachary Unger (Off-Broadway’s Merrily We Roll Along), who gave a remarkable performance as a Young Charlie. The ability to reach the deep emotional levels at such a young age was incredibly impressive, and it doesn’t hurt that he is cute as a button! Unger is a talented young man and we look forward to seeing where his promising career will lead him.Christopher Curtis (television’s A Wedding Story) and Thomas Meehan (The Producers and Hairspray) provided the Book, Music and Lyrics. The thing that was great was that unlike any other new musical on Broadway, Chaplin’s music did not over power the depth of the book. Although a lot of the music wasn’t memorable, the music and book were very well put together. Warran Carlyle (Hugh Jackman: Back on Broadway) directed and choreographed this visually stunning production. Although the choreography seemed out of place at first, it created a great way to show passing time and traditions; but, the big show stopping number was the Charlie Chaplin Look Alike Contest, where Carlyle through in tons Little Tramp acts such as: the hat spinning on the cane, causing havoc on rolling skates, and the ever famous Dancing Little Man. Job well done!
The design team for Chaplin appeared to have an incredible collaboration going on because the tech was truly inspiring. When thinking about Charlie Chaplin, people tend to thinks about not only silent movies, but black and white silent movies. Everything from the huge set pieces to the minor detail of the drinks was put in black, whites and grays. Beowulf Borritt (Rock of Ages) was responsible for this inspiring set. Borritt created two worlds inside of each other, One where the “Making of Chaplin” was being filmed in a studio, but also the entire world inside following Chaplin through life. Ken Billington (Scottsboro Boys) was the light designer. Even the lighting was done in all “Black and White” – with pale blues and ambers to keep the audience drawn in. The costumes were done by Martin Paklendinaz (Nice Work If You Can Get It) and Amy Clark (Second Stage’s Animals Out of Paper), and were stunning throughout the entire show. Paklendinaz should be proud that his last show came out so beautifully, Broadway is going to miss your exceptional designs. “Come see Charlie Chaplin!” His rise and fall will make millions laugh, cry, and stand with admiration. Chaplin is here to stay, so don’t miss out and head to the Ethel Barrymore Theater to catch the “Little Tramp!”
The show tells the rags to riches story of Charlie Chaplin (Rob McClure) and his break into the movie business. He journey’s to Hollywood to take a chance at the “flickers,” leaving behind his brother Sydney (Wayne Alan Wilcox) and his mother, Hannah (Christiane Noll). Chaplin, becomes swept up in the radically different environment he has found himself in and must now create “something funny” to soothe his new director, the ever demanding Sennett McGraney (Michael McCormick). And thus, The Tramp is born, and thrives – despite Chaplin’s failed marriages, and ever changing contracts. The show takes the audience through Chaplin’s rise to fame and his fall during the Red Scare. At the head of the accusations against Chaplin sits Hedda Hopper (Jenn Colella), a budding Hollywood reporter who is furious for Chaplin’s refusal to be a guest on her radio show. Yet, through all the turns and tribulations Chaplin finds love in Oona O’Neill (Erin Mackey) and their loves holds fast as the two face the end of an era and a whole new world of laughs. Rob McClure (Avenue Q) leads this talented cast as Charlie Chaplin. Multitalented does not begin to describe, McClure. It is more accurate to say that this wonderful actor has so many tricks up his sleeves that one could wonder why they aren’t bigger. Between chair juggling, tap dancing on roller skates, and tight rope walking, McClure could have been a show all on his own; and, not to mention, the detailed physicality that McClure displayed when performing as The Tramp. It was if Chaplin himself was on stage, which is the whole point, no? His vocal quality, while not the ringing tenor that Broadway has become so used to hearing, provided a new, interesting sound that gave life to an otherwise silent story. McClure excels in his performance and gives the audience a taste of one of America’s greatest comedic minds.
At the head of the Chaplin family stands Hannah Chaplin, the mother, played by the fantastic Christiane Noll (Urinetown). Noll gave a beautiful depiction of Chaplin’s mentally ill mother, becoming a winding country road that had a new discovery at each bend. Having much of her story told in flashback, Noll portrayed a decline into insanity that tore at the heart. She had a warm, loving touch to her voice that provided a consistent motherly touch to both Chaplin and the audience. When she wept, the audience wept, and what incredible talent it is to have the audience experience what the character experiences, not only physically, but emotionally as well. Brava. Comind out of the same household was actor Wayne Alan Wilcox (The Normal Heart) who provides the supporting net to McClure as Sydney Chaplin. Throughout the show Wilcox becomes the rock that supplies a sense of wisdom in a chaotic world, the classic vanilla scoop in this black and white sundae. His depth and passion provided a strong contrast to the otherwise shallow world of the movie business. Wilcox provided passion and dedication to the role, both strong characteristics in the character of Sydney himself. The audience walked away remembering Chaplin’s brother, who symbolized his roots and provided the path back to reality for the artist.Hedda Hopper, played by Jenn Colella (High Fidelity), provided a new meaning to the term villain; Colella was lively, mischievous, and a fun to watch. Keeping the audience engaged with her luminous vocal quality. Colella sits in that ever famous category of the villain we love to hate. In the simplest terms, Jenn Colella was fun – fun to watch, fun to listen to, fun to be involved with. She was engaging, pulling the audience into her point of view. The pure power she conveyed as Hedda Hopper was pure magic, and her voice just added dimension to an admirable character. Her performance was a true wonder. Leveling out the evil with some kindness was Erin Mackey (Anything Goes) as Oona O’Neill. She offset Chaplin’s comedic chaos with a sweet, innocent wisdom that was refreshing to see amongst the cast. Not only was her vocal talent light, and seemingly effortless, but the chemistry between Mackey and McClure was magical. Able to take serious dialogue and seamlessly mix in comedic banter, McClure and Mackey have the makings of a wonderful Broadway couple.
The cherry on top of this magnificent sundae would have to be Zachary Unger (Off-Broadway’s Merrily We Roll Along), who gave a remarkable performance as a Young Charlie. The ability to reach the deep emotional levels at such a young age was incredibly impressive, and it doesn’t hurt that he is cute as a button! Unger is a talented young man and we look forward to seeing where his promising career will lead him.Christopher Curtis (television’s A Wedding Story) and Thomas Meehan (The Producers and Hairspray) provided the Book, Music and Lyrics. The thing that was great was that unlike any other new musical on Broadway, Chaplin’s music did not over power the depth of the book. Although a lot of the music wasn’t memorable, the music and book were very well put together. Warran Carlyle (Hugh Jackman: Back on Broadway) directed and choreographed this visually stunning production. Although the choreography seemed out of place at first, it created a great way to show passing time and traditions; but, the big show stopping number was the Charlie Chaplin Look Alike Contest, where Carlyle through in tons Little Tramp acts such as: the hat spinning on the cane, causing havoc on rolling skates, and the ever famous Dancing Little Man. Job well done!
The design team for Chaplin appeared to have an incredible collaboration going on because the tech was truly inspiring. When thinking about Charlie Chaplin, people tend to thinks about not only silent movies, but black and white silent movies. Everything from the huge set pieces to the minor detail of the drinks was put in black, whites and grays. Beowulf Borritt (Rock of Ages) was responsible for this inspiring set. Borritt created two worlds inside of each other, One where the “Making of Chaplin” was being filmed in a studio, but also the entire world inside following Chaplin through life. Ken Billington (Scottsboro Boys) was the light designer. Even the lighting was done in all “Black and White” – with pale blues and ambers to keep the audience drawn in. The costumes were done by Martin Paklendinaz (Nice Work If You Can Get It) and Amy Clark (Second Stage’s Animals Out of Paper), and were stunning throughout the entire show. Paklendinaz should be proud that his last show came out so beautifully, Broadway is going to miss your exceptional designs. “Come see Charlie Chaplin!” His rise and fall will make millions laugh, cry, and stand with admiration. Chaplin is here to stay, so don’t miss out and head to the Ethel Barrymore Theater to catch the “Little Tramp!”
Friday, 7 September 2012
Forbidden Broadway: Alive and Kicking @ The 47st Theatre
“So come with us on an Omni Bus to…” the 47thStreet Theatre where Forbidden Broadwayhas opened its doors again after three years. Forbidden Broadway is finally back after a long hiatus with fresh new skits making fun of all the beloved Broadway stars. George Alessandrini waited until the scene was ripe for the pickings again to bring back the fan favorite.
Forbidden Broadway first started teasing the stars way back in 1982. Since then, it has had a number of revivals, with new numbers about new shows constantly popping up. Forbidden has spoofed every show imaginable from The Phantom of the Opera to RENT. Actors themselves aren’t safe with spoofs about Carol Channing to Liza Minnelli to Stephen Sondheim. Forbidden Broadwayconsists of two men and two women who are charged with the difficult task of impersonating the men and women of Broadway. In this current edition, the spoofers are Natalie Charlé Ellis (Off-Broadway’s Rated P for Parenthood), Scott Richard Foster (Brooklyn the Musical), Jenny Lee Stern (National Tour of Jersey Boys), and Marcus Stevens (author of Yo, Vikings!). The show has produced ten albums and has had over 9000 performances of the show in all is variations.Act 1 starts off with a funny little skit about two men ending up in the dreaded “Off Broadway” theater where Forbidden Broadway first happened. They quickly get right to the point and start their impressions; Stevens starts off the night with his Ricky Martin impression spoofing the well-known revival of Evita. They move on to, one of the favorites of the night, “Nice Song If You Can Sing It” – Broadway’s Nice Work If You Can Get It. Again, Marcus’s impression of Matthew Broderick was spot on – voice and mannerisms were all there. Following close behind was an updated skit about ancient Granny Annie (Stern). Act 1 flies by with its impressions and jokes flying fast and hitting the mark almost every time. Some other note-worthy new skits in Act 1 include Once (a bit where the actors plead for the producers to hire a band so they can just focus on acting), Anything Goes (with a great impersonation of Sutton Foster by the talented Stern), and Newsies.
Act 2 was full of Tony award winning spoofs such as the current revival of The Gershwin’s Porgy and Bess and The Book of Mormon. Ellis performed a stunning impersonation of Audra McDonald; she has a beautiful voice which was amazingly just like Audra’s powerful stunner. Also, Stern’s skit about Diana Paulus was truly something hysterical and memorial. Another memorable moment in Act 2 was the Spider Man: Turn Off the Dark fight between Julie Taymore (Ellis) and Bono (Foster). The two well known’s go at it as they fight over whose production it actually is. Although the show was full of new updated material, Alessandrini kept some of the well-known skits from past productions for shows that are still “Alive and Kicking” on Broadway. Ellis takes her turn at “Feed the Burbs” based off of Mary Poppins. In addition to Mary Poppins, there was Rafreakey from the Lion King, Frankie Valli and the Four Seasons from Jersey Boys, and the ever popular Wicked, taking a stab at Idina Mendel’s vocal power. In an interview with Alessanderini, he mentioned that Forbidden Broadway made spoofs and skits about anything covering Broadway, which also means that anything having to do with Broadway was free game. So with no hesitation, he goes after the production of Into the Woods in Central Park, where Donna Murphy and Amy Adams are singing “Agony” about their outrageous costumes. The hit television show Smash that looks at the makings of a Broadway production was also not safe as Alessandersini took “Let Me Be Your Star” and turned it to be “Let Me Be Sub-Par,” which had the audience rolling as Katherine McPhee and Megan Hilty battled it out.
All in all, the show was a fantastic way to spend two hours. The audience was in constant fits of laughter. The actors did a brilliant job of finding the little nuances, voices, and facial expressions that remind us of favorite actors. When the performance of “Alive and Kicking” is over, Broadway is incontestably beaten and scorned. “TaTa Folks.”
Forbidden Broadway first started teasing the stars way back in 1982. Since then, it has had a number of revivals, with new numbers about new shows constantly popping up. Forbidden has spoofed every show imaginable from The Phantom of the Opera to RENT. Actors themselves aren’t safe with spoofs about Carol Channing to Liza Minnelli to Stephen Sondheim. Forbidden Broadwayconsists of two men and two women who are charged with the difficult task of impersonating the men and women of Broadway. In this current edition, the spoofers are Natalie Charlé Ellis (Off-Broadway’s Rated P for Parenthood), Scott Richard Foster (Brooklyn the Musical), Jenny Lee Stern (National Tour of Jersey Boys), and Marcus Stevens (author of Yo, Vikings!). The show has produced ten albums and has had over 9000 performances of the show in all is variations.Act 1 starts off with a funny little skit about two men ending up in the dreaded “Off Broadway” theater where Forbidden Broadway first happened. They quickly get right to the point and start their impressions; Stevens starts off the night with his Ricky Martin impression spoofing the well-known revival of Evita. They move on to, one of the favorites of the night, “Nice Song If You Can Sing It” – Broadway’s Nice Work If You Can Get It. Again, Marcus’s impression of Matthew Broderick was spot on – voice and mannerisms were all there. Following close behind was an updated skit about ancient Granny Annie (Stern). Act 1 flies by with its impressions and jokes flying fast and hitting the mark almost every time. Some other note-worthy new skits in Act 1 include Once (a bit where the actors plead for the producers to hire a band so they can just focus on acting), Anything Goes (with a great impersonation of Sutton Foster by the talented Stern), and Newsies.
Act 2 was full of Tony award winning spoofs such as the current revival of The Gershwin’s Porgy and Bess and The Book of Mormon. Ellis performed a stunning impersonation of Audra McDonald; she has a beautiful voice which was amazingly just like Audra’s powerful stunner. Also, Stern’s skit about Diana Paulus was truly something hysterical and memorial. Another memorable moment in Act 2 was the Spider Man: Turn Off the Dark fight between Julie Taymore (Ellis) and Bono (Foster). The two well known’s go at it as they fight over whose production it actually is. Although the show was full of new updated material, Alessandrini kept some of the well-known skits from past productions for shows that are still “Alive and Kicking” on Broadway. Ellis takes her turn at “Feed the Burbs” based off of Mary Poppins. In addition to Mary Poppins, there was Rafreakey from the Lion King, Frankie Valli and the Four Seasons from Jersey Boys, and the ever popular Wicked, taking a stab at Idina Mendel’s vocal power. In an interview with Alessanderini, he mentioned that Forbidden Broadway made spoofs and skits about anything covering Broadway, which also means that anything having to do with Broadway was free game. So with no hesitation, he goes after the production of Into the Woods in Central Park, where Donna Murphy and Amy Adams are singing “Agony” about their outrageous costumes. The hit television show Smash that looks at the makings of a Broadway production was also not safe as Alessandersini took “Let Me Be Your Star” and turned it to be “Let Me Be Sub-Par,” which had the audience rolling as Katherine McPhee and Megan Hilty battled it out.
All in all, the show was a fantastic way to spend two hours. The audience was in constant fits of laughter. The actors did a brilliant job of finding the little nuances, voices, and facial expressions that remind us of favorite actors. When the performance of “Alive and Kicking” is over, Broadway is incontestably beaten and scorned. “TaTa Folks.”
Wednesday, 8 August 2012
Bring It On @ St. James Theatre
Elle Woods had law school and Lysistrata Jones had basketball, but the gang currently at the St. James theatre has … cheerleading! That is right, the hit films in the Bring It Onfranchise have been retooled, reworked, and re-mastered by some of Broadway’s finest to create the next cheese ball comedy that is hard to resist! This quirky cast of characters cheers and flips their way into the hearts of the audience! Is Bring It On: The Musicalthe next “best” musical? No. But, is it fun, full of energy, extremely witty, and well worth the price of admission? Hell to the yes! This Broadway underdog is pure fun!
Forget everything you know about the Bring It On film series because this musical is completely different … except for the cheerleading, of course. Meet Campbell, a senior high school student who has recently been given the coveted position of cheer captain. Everything is going her way – she is popular, has a hot boyfriend, and is leading the squad to victory. Before she has time to blink, however, her dreams are crushed when she is suddenly relocated to a different school; and, not just any school – it is Jackson High! Enter Danielle – the “it girl” at the rough and tough Jackson (where everything is reversed). Soon, it becomes clear that these two girls from completely different worlds will have to join forces and become friends. Through all of the backstabbing, laughs, lies, love, and flips, Campbell and Danielle will soon learn just what it takes to get through the dreaded high school years.This crazy talented ensemble is forced to go where no ensemble has gone before – they not only sing, act, and dance, they have to lift, flip, and fly through the air. Leading this ensemble are Taylor Louderman (Muny’s Legally Blonde) and Adrienne Warren (Apollo/U.S. Dreamgirls tour) as Campbell and Danielle respectively. These two women work wonders together on stage with their strong dance moves, sweet voices, and killer comedic chops. Louderman takes center stage from the beginning to the end doing a lovely job of separating Campbell, a popular blonde, from all of the other popular blondes surrounding her. Warren gives rough and tough Danielle tons of heart – making her the character that the entire audience can relate to. Surrounding these two are a series of strong female performances from Kate Rockwell (Hair) and Janet Krupin (teen.com’s The Click Clique) as the popular girls that everyone loves to hate to Elle McLemore (television’s The Middle) as the newcomer to the squad with that “killer instinct” to Ryann Redmond (Playwright Horizon’s Children of Eden) as Bridget, the girl who might be a bit over-weight, but still knows her way around a dance floor. Believe it or not, there are males in Bring It On: The Musicaltoo. Jason Gotay () takes on the role of Randall, Campbell’s extremely attractive mentor. While Gotay is sweet, his performance falls a bit flat, allowing the rest of the ensemble to wash him out – a quality not too good for a leading man. However, Gregory Haney (Memphis) and Neil Haskell (9 to 5: The Musical) have plenty of time to take some of the spotlight away from the girls. Haney leaves a lasting impression as La Cienega, the cross-dressing dance crew diva; he is smarty, funny, and absolutely perfect for this break out role. Haskell takes on Campbell’s hunky boy toy Steven; he is hilarious and is given the chance to show off all of his So You Think You Can Dance moves. As a whole, this ensemble gels very well together, and knows just how to deliver the material handed to them by some of Broadway’s best and brightest.
What does Avenue Q, Next to Normal, and In the Heights all have in common? Well, all three have Tony Awards, and now they all have each other. Director and choreographer Andy Blankenbuehler (choreographer of the upcoming Annie) brings together a top-notch creative team to ensure that what many were speculating to be a flop, is in fact a sure fire hit! A show like this needed both an “all-American Broadway” feel and a “hip-hop” beat; therefore, Blankenbuehler enlisted not one or two musical geniuses, but three: Tom Kitt (Next to Normal), Lin-Manuel Miranda (In the Heights), and Amanda Green (High Fidelity). Together, these three come together to create a diverse score that is refreshing, up beat, and just plain old fun! Don’t get to crazy; of course, some of the songs are weak-ish and could use some improvement; however, overall, the score is a crowd pleaser. Adding to the fun is libretto writer Jeff Whitty of Avenue Q fame. Whitty’s work is … well … witty. It is extremely funny, but the whole time is leading up to a moral that all can relate to. Blankenbuehler does not hold back on his design team either enlisting the help of scenic designer David Korins (the recent Godspell revival), costume designer Andrea Lauer (American Idiot), and lighting designer Jason Lyons (Rock of Ages). All three work extremely well together to bring the feel of both stage and arena together into one. Much like the score, this design is a beautiful fusion. Blankenbuehler does a lovely job of staging this new musical and giving it the high-powered dance and cheer moves that it needs!Bring It On: The Musical will probably never sweep the Tony Awards; however, it does something that few musicals are doing these days – giving the audience permission to forget about their lives and just have some plain old fun at the theatre! The ensemble is full of energy, the score and libretto are swell, and the design is fantastic – making this a wonderful new musical that the entire family can enjoy! Bring the kids, bring the wife, bring the husband, and (most importantly) bring it on!
Forget everything you know about the Bring It On film series because this musical is completely different … except for the cheerleading, of course. Meet Campbell, a senior high school student who has recently been given the coveted position of cheer captain. Everything is going her way – she is popular, has a hot boyfriend, and is leading the squad to victory. Before she has time to blink, however, her dreams are crushed when she is suddenly relocated to a different school; and, not just any school – it is Jackson High! Enter Danielle – the “it girl” at the rough and tough Jackson (where everything is reversed). Soon, it becomes clear that these two girls from completely different worlds will have to join forces and become friends. Through all of the backstabbing, laughs, lies, love, and flips, Campbell and Danielle will soon learn just what it takes to get through the dreaded high school years.This crazy talented ensemble is forced to go where no ensemble has gone before – they not only sing, act, and dance, they have to lift, flip, and fly through the air. Leading this ensemble are Taylor Louderman (Muny’s Legally Blonde) and Adrienne Warren (Apollo/U.S. Dreamgirls tour) as Campbell and Danielle respectively. These two women work wonders together on stage with their strong dance moves, sweet voices, and killer comedic chops. Louderman takes center stage from the beginning to the end doing a lovely job of separating Campbell, a popular blonde, from all of the other popular blondes surrounding her. Warren gives rough and tough Danielle tons of heart – making her the character that the entire audience can relate to. Surrounding these two are a series of strong female performances from Kate Rockwell (Hair) and Janet Krupin (teen.com’s The Click Clique) as the popular girls that everyone loves to hate to Elle McLemore (television’s The Middle) as the newcomer to the squad with that “killer instinct” to Ryann Redmond (Playwright Horizon’s Children of Eden) as Bridget, the girl who might be a bit over-weight, but still knows her way around a dance floor. Believe it or not, there are males in Bring It On: The Musicaltoo. Jason Gotay () takes on the role of Randall, Campbell’s extremely attractive mentor. While Gotay is sweet, his performance falls a bit flat, allowing the rest of the ensemble to wash him out – a quality not too good for a leading man. However, Gregory Haney (Memphis) and Neil Haskell (9 to 5: The Musical) have plenty of time to take some of the spotlight away from the girls. Haney leaves a lasting impression as La Cienega, the cross-dressing dance crew diva; he is smarty, funny, and absolutely perfect for this break out role. Haskell takes on Campbell’s hunky boy toy Steven; he is hilarious and is given the chance to show off all of his So You Think You Can Dance moves. As a whole, this ensemble gels very well together, and knows just how to deliver the material handed to them by some of Broadway’s best and brightest.
What does Avenue Q, Next to Normal, and In the Heights all have in common? Well, all three have Tony Awards, and now they all have each other. Director and choreographer Andy Blankenbuehler (choreographer of the upcoming Annie) brings together a top-notch creative team to ensure that what many were speculating to be a flop, is in fact a sure fire hit! A show like this needed both an “all-American Broadway” feel and a “hip-hop” beat; therefore, Blankenbuehler enlisted not one or two musical geniuses, but three: Tom Kitt (Next to Normal), Lin-Manuel Miranda (In the Heights), and Amanda Green (High Fidelity). Together, these three come together to create a diverse score that is refreshing, up beat, and just plain old fun! Don’t get to crazy; of course, some of the songs are weak-ish and could use some improvement; however, overall, the score is a crowd pleaser. Adding to the fun is libretto writer Jeff Whitty of Avenue Q fame. Whitty’s work is … well … witty. It is extremely funny, but the whole time is leading up to a moral that all can relate to. Blankenbuehler does not hold back on his design team either enlisting the help of scenic designer David Korins (the recent Godspell revival), costume designer Andrea Lauer (American Idiot), and lighting designer Jason Lyons (Rock of Ages). All three work extremely well together to bring the feel of both stage and arena together into one. Much like the score, this design is a beautiful fusion. Blankenbuehler does a lovely job of staging this new musical and giving it the high-powered dance and cheer moves that it needs!Bring It On: The Musical will probably never sweep the Tony Awards; however, it does something that few musicals are doing these days – giving the audience permission to forget about their lives and just have some plain old fun at the theatre! The ensemble is full of energy, the score and libretto are swell, and the design is fantastic – making this a wonderful new musical that the entire family can enjoy! Bring the kids, bring the wife, bring the husband, and (most importantly) bring it on!
Thursday, 2 August 2012
The Last Smoker In America @ The Westside Theatre (Upstairs)
With the current election race afloat, the entire country is turning to see what the government has to say. Better yet, the whole country is looking to see if the government says the right things … though depending on the person, those thoughts vary. There is one thing that is crystal clear, however, about the view currently being taken in the new musical comedy The Last Smoker in America– the govern has no right to stop us from doing what makes us happy, even if that happiness harms us … or do they? Okay. So, maybe the point is not so crystal clear. But, in this uncertainty, this hilarious musical does exactly what it needs to do – make Americans think. Whether you are pro-smoking or anti-smoking, you are bound to enjoy this fresh, funny, and innovative American musical.
Meet Pam. Pam is a loving wife and mother. Her husband, Ernie, dreams of writing the next great rock anthem. Her son, Jimmy, is a typical teen – lost, confused, into rap and video games. All in all, Pam is a normal, average, everyday housewife. Until, new strict laws on the use of smoking tobacco make Pam the official last smoker left in America. Now, Pam faces the ultimate decision – quit smoking or fight against the powers that be. One lets her life stay on track; the other lands her in jail. While she might want to rebel, know-it-all, Jesus-loving, anti-smoke leader, Phyllis is her next-door neighbor. Between the crazy coming from Phyllis, the concern coming from Ernie, and the teen-angst coming from Jimmy, all Pam could really use, is the one thing that she is not allowed to have – a cigarette.Four actors dominate the Westside Theatre on a weekly basis, delivering hilarious performances that can knock the cigarette out of one’s very own hand. Leading lady, Farah Alvin (off-Broadway’s The Marvelous Wonderettes), takes control of the stage from scene one and never lets go! She is smart, funny, and deeply moving. No matter what one’s stance on smoking currently is, Alvin makes you forget all about it, and route for her right to light up! The man of the house is brought to life brilliantly by John Bolton (Curtains). Ernie may be a fully-grown adult, but he sure does not act like it – Bolton brings all of the youth and energy needed when playing this role, especially while belting out songs in the style of Aerosmith! Rounding out the family tree is Jake Boyd (off-Broadway’s Carrie) as Jimmy. Boyd does a lovely job of conveying the difficulties of being a teenager in today’s society. From his insane rap number to his need to wear high-heels, Jimmy is a fun character that Boyd totally tapped into. Rounding out this crazy talented ensemble is Avenue Q veteran Natalie Venetia Belcon as the crazy ass next-door neighbor, Phyllis. Whether decked out in her Sunday best, gangster gear, or Irish step uniform, Belcon delivers a truly unforgettable performance! Her soulful voice carries across the theatre and into the hearts of the audience, even when she is singing lyrics on crack. Together, these four actors form a tight knit ensemble that lands every joke, hits every note, and delivers each shocking punch! A true joy to watch on stage!
This wild new musical was conceived by Bill Russell (Side Show) on book and lyrics and Peter Melnick (Adrift in Macaoat Primary Stages) on music. If shock is what this team was going for, then they nailed it! With each new word and lyric crazier than the next, infused with wild music styles from gospel to rock to rap, The Last Smoker in America might not be mainstream theatre, but it is sure as hell fun and entertaining to watch! All of this wildness is under the direction of Andy Sandberg (producer of the current Broadway smash The Best Man). While Sandberg’s direction was not superior, often leading the cast in awkward circles and poses, he did manage to form a fabulous creative team. Charlie Corcoran (Master Class) delivers a wildly colorful set design that looks both futuristic and hauntingly modern, like this world is not to far away, at the same time. Lightly this world is master lighting designer Jeff Croiter (Peter and the Starcatcher). Drawing on traditional lighting, rock concert lighting, and theme park lighting, Croiter creates this brilliant fusion of styles that takes both the set and book to a whole new level. Also shining is costume designer Michael McDonald (Hair), who has the task of creating hundreds of different looks from 80s glam to gangster to Elvis. Rounding out the team is choreographer AC Ciulla (Footloose) who proves fun and energetic moves that fill the stage and bring the songs the breath of life needed to make them pop! This team delivers one crazy, insane, wild night of theatre!Similar to the likes of Avenue Q and The Book of Mormon, this brand new musical is shocking, funny, full of heart, and does not give two damns whether or not you agree with its message (as the advertisements say, it’s “unfiltered”). The Last Smoker in America is an off-Broadway triumph – with great performances and wonderful design – not to be missed!
Meet Pam. Pam is a loving wife and mother. Her husband, Ernie, dreams of writing the next great rock anthem. Her son, Jimmy, is a typical teen – lost, confused, into rap and video games. All in all, Pam is a normal, average, everyday housewife. Until, new strict laws on the use of smoking tobacco make Pam the official last smoker left in America. Now, Pam faces the ultimate decision – quit smoking or fight against the powers that be. One lets her life stay on track; the other lands her in jail. While she might want to rebel, know-it-all, Jesus-loving, anti-smoke leader, Phyllis is her next-door neighbor. Between the crazy coming from Phyllis, the concern coming from Ernie, and the teen-angst coming from Jimmy, all Pam could really use, is the one thing that she is not allowed to have – a cigarette.Four actors dominate the Westside Theatre on a weekly basis, delivering hilarious performances that can knock the cigarette out of one’s very own hand. Leading lady, Farah Alvin (off-Broadway’s The Marvelous Wonderettes), takes control of the stage from scene one and never lets go! She is smart, funny, and deeply moving. No matter what one’s stance on smoking currently is, Alvin makes you forget all about it, and route for her right to light up! The man of the house is brought to life brilliantly by John Bolton (Curtains). Ernie may be a fully-grown adult, but he sure does not act like it – Bolton brings all of the youth and energy needed when playing this role, especially while belting out songs in the style of Aerosmith! Rounding out the family tree is Jake Boyd (off-Broadway’s Carrie) as Jimmy. Boyd does a lovely job of conveying the difficulties of being a teenager in today’s society. From his insane rap number to his need to wear high-heels, Jimmy is a fun character that Boyd totally tapped into. Rounding out this crazy talented ensemble is Avenue Q veteran Natalie Venetia Belcon as the crazy ass next-door neighbor, Phyllis. Whether decked out in her Sunday best, gangster gear, or Irish step uniform, Belcon delivers a truly unforgettable performance! Her soulful voice carries across the theatre and into the hearts of the audience, even when she is singing lyrics on crack. Together, these four actors form a tight knit ensemble that lands every joke, hits every note, and delivers each shocking punch! A true joy to watch on stage!
This wild new musical was conceived by Bill Russell (Side Show) on book and lyrics and Peter Melnick (Adrift in Macaoat Primary Stages) on music. If shock is what this team was going for, then they nailed it! With each new word and lyric crazier than the next, infused with wild music styles from gospel to rock to rap, The Last Smoker in America might not be mainstream theatre, but it is sure as hell fun and entertaining to watch! All of this wildness is under the direction of Andy Sandberg (producer of the current Broadway smash The Best Man). While Sandberg’s direction was not superior, often leading the cast in awkward circles and poses, he did manage to form a fabulous creative team. Charlie Corcoran (Master Class) delivers a wildly colorful set design that looks both futuristic and hauntingly modern, like this world is not to far away, at the same time. Lightly this world is master lighting designer Jeff Croiter (Peter and the Starcatcher). Drawing on traditional lighting, rock concert lighting, and theme park lighting, Croiter creates this brilliant fusion of styles that takes both the set and book to a whole new level. Also shining is costume designer Michael McDonald (Hair), who has the task of creating hundreds of different looks from 80s glam to gangster to Elvis. Rounding out the team is choreographer AC Ciulla (Footloose) who proves fun and energetic moves that fill the stage and bring the songs the breath of life needed to make them pop! This team delivers one crazy, insane, wild night of theatre!Similar to the likes of Avenue Q and The Book of Mormon, this brand new musical is shocking, funny, full of heart, and does not give two damns whether or not you agree with its message (as the advertisements say, it’s “unfiltered”). The Last Smoker in America is an off-Broadway triumph – with great performances and wonderful design – not to be missed!
Saturday, 14 July 2012
Fela! @ Al Hirschfeld Theatre
Only one show can say that it is backed by such celebrities as Shawn “Jay-Z” Carter, Will Smith, and Jada Pinkett Smith. Only one show can say that masterminds Bill T. Jones, Jim Lewis, and Stephen Hendel are responsible for its creation. Only one show tells the tale of Fela Anikulapo-Kuti through his very own music. Only one show is back for a strictly limited run this summer at the Al Hirschfeld Theatre. Only one show will ever be Fela! – the afrobeat musical that has the audience laughing, cheering, crying, and all around surrounded with the culture of Lagos, Nigeria.
Fela Anikulapo-Kuti might not be a house hold name to the younger generations, but his passion, music, and life influenced a generation not to long ago. From the first note, the audience is transported to the Shrine, a famous concert venue in Lagos, where Fela is playing his final performance. Distraught by the recent death of his mother caused by the government, Fela has decided that it is time to leave Nigeria for good; he can no longer help a nation that does not recognize that it is in turmoil. It is not long into the concert, however, that he begins to take a look back at his life – from his studies in London to his mega hit song Zombie to the raid of his home. As Fela takes this journey, the audience is taken with him as he begins to realize that Nigeria is his home.Depending on the night, the star of the show will either be Sahr Ngaujah (Tony and Oliver Award nominee for Fela!) or Adesola Osakalumi (Equus); on opening night, Mr. Osakalumi was front and center as Fela Anikulapo-Kuti. Osakalumi carried the show with wit, charm, and an energy that was larger than life. Not only can he act and sing, Osakalumi does it all while playing the sax! Fela is a man with strong emotions and over the top ideas. Osakalumi takes control of this piece from start to finish and beautifully brigs this activist and music legend to life. Surrounding him is an ensemble full of talent. This ensemble barley catches a break as they move from one intense dance number to the next. With soulful voices and crazy dance chops, the ensemble of Fela! kills it! While Fela is a strong, independent man (who does happen to marry 15 women at once), there are two stand out women figures in his life: his mother Funmilayo (portrayed by Melanie Marshall – West End’s Fame) and American activist Sandra (portrayed by Paulette Ivory – West End’s The Lion King). Both women have strong, powerful voices that fill the stage and take control of their songs. While both might lack some energy compared to Osakalumi, it feels more like a flaw in the script, rather than a flaw in the actresses. In the end, both women beautifully join forces with Osakalumi and the high energy ensemble to create the world of Fela.
While Fela! tends to run a bit long (the likes of Les Miserables – it is great, but could be shorter), it is a visual feast for the senses. Director and choreographer Bill T. Jones assembled the best of the best to create the world of Lagos, Nigeria. Marina Draghici (Shakespeare in the Park’s Mother Courage) takes the reins as scenic and costume designer. Using bright, vibrant colors and unique, interesting textures, Draghici fuses the worlds of design together creating a world that is energetic and full of life. Adding to the design is the work of lighting designer Robert Wierzel (David Copperfield’s Dreams and Nightmares) who uses a fuse of concert and theatrical lighting to blend the world of the Shrine and Nigeria. The visual feast is completed with the stunning projection design work of Peter Nigrini (9 to 5: The Musical). Nigrini’s work transports the audience from Nigeria to London and back again; it is absolutely stunning work! The scene staler of the show is the movement from Bill T. Jones (choreographer for Spring Awakening). The intense dance routines are rich in culture and high in energy; they electrify the entire audience – who is even called to get off their feet and learn a few moves themselves! While the book has a few faults – feeling scattered at times and dropping a few characters, the performers more than cover it up, making this an astonishing piece of theatre!The national tour of Fela! has made a pit stop in the Big Apple once more! Filled with fun afrobeat music, humor, drama, wonderful design, and awe inspiring performances, this innovative piece of theatre is sure to entertain! As an audience member yelled out on opening night, “Welcome back Fela! Welcome back!” Now, everyone say, “Yeh! Yeh!”
Fela Anikulapo-Kuti might not be a house hold name to the younger generations, but his passion, music, and life influenced a generation not to long ago. From the first note, the audience is transported to the Shrine, a famous concert venue in Lagos, where Fela is playing his final performance. Distraught by the recent death of his mother caused by the government, Fela has decided that it is time to leave Nigeria for good; he can no longer help a nation that does not recognize that it is in turmoil. It is not long into the concert, however, that he begins to take a look back at his life – from his studies in London to his mega hit song Zombie to the raid of his home. As Fela takes this journey, the audience is taken with him as he begins to realize that Nigeria is his home.Depending on the night, the star of the show will either be Sahr Ngaujah (Tony and Oliver Award nominee for Fela!) or Adesola Osakalumi (Equus); on opening night, Mr. Osakalumi was front and center as Fela Anikulapo-Kuti. Osakalumi carried the show with wit, charm, and an energy that was larger than life. Not only can he act and sing, Osakalumi does it all while playing the sax! Fela is a man with strong emotions and over the top ideas. Osakalumi takes control of this piece from start to finish and beautifully brigs this activist and music legend to life. Surrounding him is an ensemble full of talent. This ensemble barley catches a break as they move from one intense dance number to the next. With soulful voices and crazy dance chops, the ensemble of Fela! kills it! While Fela is a strong, independent man (who does happen to marry 15 women at once), there are two stand out women figures in his life: his mother Funmilayo (portrayed by Melanie Marshall – West End’s Fame) and American activist Sandra (portrayed by Paulette Ivory – West End’s The Lion King). Both women have strong, powerful voices that fill the stage and take control of their songs. While both might lack some energy compared to Osakalumi, it feels more like a flaw in the script, rather than a flaw in the actresses. In the end, both women beautifully join forces with Osakalumi and the high energy ensemble to create the world of Fela.
While Fela! tends to run a bit long (the likes of Les Miserables – it is great, but could be shorter), it is a visual feast for the senses. Director and choreographer Bill T. Jones assembled the best of the best to create the world of Lagos, Nigeria. Marina Draghici (Shakespeare in the Park’s Mother Courage) takes the reins as scenic and costume designer. Using bright, vibrant colors and unique, interesting textures, Draghici fuses the worlds of design together creating a world that is energetic and full of life. Adding to the design is the work of lighting designer Robert Wierzel (David Copperfield’s Dreams and Nightmares) who uses a fuse of concert and theatrical lighting to blend the world of the Shrine and Nigeria. The visual feast is completed with the stunning projection design work of Peter Nigrini (9 to 5: The Musical). Nigrini’s work transports the audience from Nigeria to London and back again; it is absolutely stunning work! The scene staler of the show is the movement from Bill T. Jones (choreographer for Spring Awakening). The intense dance routines are rich in culture and high in energy; they electrify the entire audience – who is even called to get off their feet and learn a few moves themselves! While the book has a few faults – feeling scattered at times and dropping a few characters, the performers more than cover it up, making this an astonishing piece of theatre!The national tour of Fela! has made a pit stop in the Big Apple once more! Filled with fun afrobeat music, humor, drama, wonderful design, and awe inspiring performances, this innovative piece of theatre is sure to entertain! As an audience member yelled out on opening night, “Welcome back Fela! Welcome back!” Now, everyone say, “Yeh! Yeh!”
Friday, 15 June 2012
Harvey @ Studio 54
Growing up, most people can say that they had an invisible friend. This loyal pal would sit at the dinner table, watch television with us, and, of course, keep a watchful eye for the Boogieman at night. Elwood P. Dowd, however, has decided to take this theme to new heights. Jim Parsons, from television’s The Big Bang Theory, brilliantly brings this slightly crazed man back to life in Roundabout Theatre Company’s revival of Harvey. Complete with hilarious performances from the entire cast, stunning design, and elegant direction, this revival is the perfect way to open up the 2012 - 2013 Broadway season!Veta Louise Simmons, along with her daughter Myrtle Mae, currently resides with Elwood P. Dowd in the family estate of Veta and Elwood’s late mother. The only problem is that this family of three feels more like a family of four now that Harvey is in the picture. While Elwood loves Harvey and considers him his closest friend, it brings the family great shame and embarrassment … mainly due to the fact that Harvey is an incredibly tall, talking, invisible, rabbit! Along with the help of world renowned psychologist William R. Chumley, M.D., Veta decides that enough is enough; it is time to get Harvey out of their lives once and for all. Getting Elwood committed, however, is much easier said than done. As multiple doctors, politicians, and family members run amuck, it becomes clearer and clearer that Harvey might be the sanest person in the family!Emmy Award winner Jim Parsons, who was last seen on Broadway in The Normal Heart, shines in a part that he was clearly born to play. Elwood may see a giant bunny rabbit walking around the stage, but he is also warm, friendly, and charismatic - qualities that Parsons one hundred percent captures. From his very first entrance, Parsons transforms himself to the point where the audience actually begins to think that it is normal for a grown man to have an invisible friend; a friend that is so clearly created in his mind that the audience begins to see him as well. Elwood’s clam, smooth moves brings out the crazy going on around him, especially in sister Veta, brilliantly brought to life by Jessica Hecht (the 2010 revival of A View from the Bridge). Hecht taps into the unstable world of Veta - a concerned mother, tortured sister, and desperate social figure. She delivers big laughs as event after event keeps getting scrambled from the original plan. Other members of the family Myrtle Mae (Tracee Chimo - Second Stage’s Bachelorette) and Aunt Ethel (Angela Paton - film’s American Wedding), add to the chaos that surrounds this family; for all they want is to understand why Harvey has joined the family. Helping take down Harvey is the top notch, and insanely funny, medial team lead by William R. Chumley, M.D., portrayed by Murphy Brown star Charles Kimbrough. After mental patients are confused and lost and drinks are had with Harvey, Dr. Chumley begins to see the world a little bit differently. Kimbrough, delivers a stunning performance and connects beautifully with the rest of his staff, played by Holley Fain (Present Laughter), Rich Sommer (television’s Mad Men), and Morgan Spector (the 2010 revival of A View from the Bridge). The true scene stealer award goes to the always funny Carol Kane known for her television work on Taxi and stage work in Wicked. Kane portrays the somewhat ditzy wife to Dr. Chumley, Betty Chumley, and brings her high pitched wit and crazy to the stage. Together this ensemble shines while bringing back Mary Chase’s classic comedy!Scott Ellis (Curtains) finds the brilliance in this tale and gives both the actors and design team stunning direction. Flowing brilliantly from scene to scene, scenic designer David Rockwell (The Normal Heart) creates a stunning rotating set that captures the feel of the 1940s with bright colors and lavish dressings. Adding to this blast from the past is costume designer Jane Greenwood (the upcoming Rebecca) who captures the style of this decade with rich suits and fancy dresses. All of which is lit with the talents of designer Kenneth Posner (the current The Best Man). The design team creates a picture that brilliantly crosses the line from realism to fantasy, which adds to the mystical world of the invisible Harvey. Ellis creates a world that captures the 1940s while still bringing this play into the 21st century. While some plays come back dated and worn, Harvey still feels fresh all these years later - proving that true comedy never goes out of style.Harvey opens up the new theatre season with big laughs, wonderful design, and great performances! Jim Parsons proves once more why he is one of the greatest comedic actors of this generation, for him and his big invisible friend are a true delight!
Sunday, 10 June 2012
2012 Tony Awards
Best Play
* Clybourne Park - Author: Bruce Norris
Other Desert Cities - Author: Jon Robin Baitz
Peter and the Starcatcher - Author: Rick Elice
Venus in Fur - Author: David Ives
Best Musical
Leap of Faith
Newsies
Nice Work If You Can Get It
* Once
Best Revival of a Play
* Arthur Miller’s Death of a Salesman
Gore Vidal’s The Best Man
Master Class
Wit
Best Revival of a Musical
Evita
Follies
* The Gershwins’ Porgy and Bess
Jesus Christ Superstar
Best Book of a Musical
Lysistrata Jones - Douglas Carter Beane
Newsies - Harvey Fierstein
Nice Work If You Can Get It - Joe DiPietro
* Once - Enda Walsh
Best Original Score (Music and/or Lyrics) Written for the Theatre
Bonnie & Clyde - Music: Frank Wildhorn - Lyrics: Don Black
* Newsies - Music: Alan Menken - Lyrics: Jack Feldman
One Man, Two Guvnors - Music & Lyrics: Grant Olding
Peter and the Starcatcher - Music: Wayne Barker - Lyrics: Rick Elice
Best Performance by an Actor in a Leading Role in a Play
* James Corden, One Man, Two Guvnors
Philip Seymour Hoffman, Arthur Miller’s Death of a Salesman
James Earl Jones, Gore Vidal’s The Best Man
Frank Langella, Man and Boy
John Lithgow, The Columnist
Best Performance by an Actress in a Leading Role in a Play
* Nina Arianda, Venus in Fur
Tracie Bennett, End of the Rainbow
Stockard Channing, Other Desert Cities
Linda Lavin, The Lyons
Cynthia Nixon, Wit
Best Performance by an Actor in a Leading Role in a Musical
Danny Burstein, Follies
Jeremy Jordan, Newsies
* Steve Kazee, Once
Norm Lewis, The Gershwins’ Porgy and Bess
Ron Raines, Follies
Best Performance by an Actress in a Leading Role in a Musical
Jan Maxwell, Follies
* Audra McDonald, The Gershwins’ Porgy and Bess
Cristin Milioti, Once
Kelli O’Hara, Nice Work If You Can Get It
Laura Osnes, Bonnie & Clyde
Best Performance by an Actor in a Featured Role in a Play
* Christian Borle, Peter and the Starcatcher
Michael Cumpsty, End of the Rainbow
Tom Edden, One Man, Two Guvnors
Andrew Garfield, Arthur Miller’s Death of a Salesman
Jeremy Shamos, Clybourne Park
Best Performance by an Actress in a Featured Role in a Play
Linda Emond, Arthur Miller’s Death of a Salesman
Spencer Kayden, Don’t Dress for Dinner
Celia Keenan-Bolger, Peter and the Starcatcher
* Judith Light, Other Desert Cities
Condola Rashad, Stick Fly
Best Performance by an Actor in a Featured Role in a Musical
Phillip Boykin, The Gershwins’ Porgy and Bess
Michael Cerveris, Evita
David Alan Grier, The Gershwins’ Porgy and Bess
* Michael McGrath, Nice Work If You Can Get It
Josh Young, Jesus Christ Superstar
Best Performance by an Actress in a Featured Role in a Musical
Elizabeth A. Davis, Once
Jayne Houdyshell, Follies
* Judy Kaye, Nice Work If You Can Get It
Jessie Mueller, On A Clear Day You Can See Forever
Da’Vine Joy Randolph, Ghost the Musical
Best Scenic Design of a Play
John Lee Beatty, Other Desert Cities
Daniel Ostling, Clybourne Park
Mark Thompson, One Man, Two Guvnors
* Donyale Werle, Peter and the Starcatcher
Best Scenic Design of a Musical
* Bob Crowley, Once
Rob Howell and Jon Driscoll, Ghost the Musical
Tobin Ost and Sven Ortel, Newsies
George Tsypin, Spider-Man Turn Off The Dark
Best Costume Design of a Play
William Ivey Long, Don’t Dress for Dinner
Paul Tazewell, A Streetcar Named Desire
Mark Thompson, One Man, Two Guvnors
* Paloma Young, Peter and the Starcatcher
Best Costume Design of a Musical
* Gregg Barnes, Follies
ESosa, The Gershwins’ Porgy and Bess
Eiko Ishioka, Spider-Man Turn Off The Dark
Martin Pakledinaz, Nice Work If You Can Get It
Best Lighting Design of a Play
* Jeff Croiter, Peter and the Starcatcher
Peter Kaczorowski, The Road to Mecca
Brian MacDevitt, Arthur Miller’s Death of a Salesman
Kenneth Posner, Other Desert Cities
Best Lighting Design of a Musical
Christopher Akerlind, The Gershwins’ Porgy and Bess
Natasha Katz, Follies
* Natasha Katz, Once
Hugh Vanstone, Ghost the Musical
Best Sound Design of a Play
Paul Arditti, One Man, Two Guvnors
Scott Lehrer, Arthur Miller’s Death of a Salesman
Gareth Owen, End of the Rainbow
* Darron L. West, Peter and the Starcatcher
Best Sound Design of a Musical
Acme Sound Partners, The Gershwins’ Porgy and Bess
* Clive Goodwin, Once
Kai Harada, Follies
Brian Ronan, Nice Work If You Can Get It
Best Choreography
Rob Ashford, Evita
* Christopher Gattelli, Newsies
Steven Hoggett, Once
Kathleen Marshall, Nice Work If You Can Get It
Best Direction of a Play
Nicholas Hytner, One Man, Two Guvnors
Pam MacKinnon, Clybourne Park
* Mike Nichols, Arthur Miller’s Death of a Salesman
Roger Rees and Alex Timbers, Peter and the Starcatcher
Best Direction of a Musical
Jeff Calhoun, Newsies
Kathleen Marshall, Nice Work If You Can Get It
Diane Paulus, The Gershwins’ Porgy and Bess
* John Tiffany, Once
Best Orchestrations
William David Brohn and Christopher Jahnke, The Gershwins’ Porgy and Bess
Bill Elliott, Nice Work If You Can Get It
* Martin Lowe, Once
Danny Troob, Newsies
Please Vist Playbill.com & Broadway.com for a complete list of winners from some of Broadway’s other leading awards - including The Drama Desk Awards, Critics’ Circle Awards, and more …
* Clybourne Park - Author: Bruce Norris
Other Desert Cities - Author: Jon Robin Baitz
Peter and the Starcatcher - Author: Rick Elice
Venus in Fur - Author: David Ives
Best Musical
Leap of Faith
Newsies
Nice Work If You Can Get It
* Once
Best Revival of a Play
* Arthur Miller’s Death of a Salesman
Gore Vidal’s The Best Man
Master Class
Wit
Best Revival of a Musical
Evita
Follies
* The Gershwins’ Porgy and Bess
Jesus Christ Superstar
Best Book of a Musical
Lysistrata Jones - Douglas Carter Beane
Newsies - Harvey Fierstein
Nice Work If You Can Get It - Joe DiPietro
* Once - Enda Walsh
Best Original Score (Music and/or Lyrics) Written for the Theatre
Bonnie & Clyde - Music: Frank Wildhorn - Lyrics: Don Black
* Newsies - Music: Alan Menken - Lyrics: Jack Feldman
One Man, Two Guvnors - Music & Lyrics: Grant Olding
Peter and the Starcatcher - Music: Wayne Barker - Lyrics: Rick Elice
Best Performance by an Actor in a Leading Role in a Play
* James Corden, One Man, Two Guvnors
Philip Seymour Hoffman, Arthur Miller’s Death of a Salesman
James Earl Jones, Gore Vidal’s The Best Man
Frank Langella, Man and Boy
John Lithgow, The Columnist
Best Performance by an Actress in a Leading Role in a Play
* Nina Arianda, Venus in Fur
Tracie Bennett, End of the Rainbow
Stockard Channing, Other Desert Cities
Linda Lavin, The Lyons
Cynthia Nixon, Wit
Best Performance by an Actor in a Leading Role in a Musical
Danny Burstein, Follies
Jeremy Jordan, Newsies
* Steve Kazee, Once
Norm Lewis, The Gershwins’ Porgy and Bess
Ron Raines, Follies
Best Performance by an Actress in a Leading Role in a Musical
Jan Maxwell, Follies
* Audra McDonald, The Gershwins’ Porgy and Bess
Cristin Milioti, Once
Kelli O’Hara, Nice Work If You Can Get It
Laura Osnes, Bonnie & Clyde
Best Performance by an Actor in a Featured Role in a Play
* Christian Borle, Peter and the Starcatcher
Michael Cumpsty, End of the Rainbow
Tom Edden, One Man, Two Guvnors
Andrew Garfield, Arthur Miller’s Death of a Salesman
Jeremy Shamos, Clybourne Park
Best Performance by an Actress in a Featured Role in a Play
Linda Emond, Arthur Miller’s Death of a Salesman
Spencer Kayden, Don’t Dress for Dinner
Celia Keenan-Bolger, Peter and the Starcatcher
* Judith Light, Other Desert Cities
Condola Rashad, Stick Fly
Best Performance by an Actor in a Featured Role in a Musical
Phillip Boykin, The Gershwins’ Porgy and Bess
Michael Cerveris, Evita
David Alan Grier, The Gershwins’ Porgy and Bess
* Michael McGrath, Nice Work If You Can Get It
Josh Young, Jesus Christ Superstar
Best Performance by an Actress in a Featured Role in a Musical
Elizabeth A. Davis, Once
Jayne Houdyshell, Follies
* Judy Kaye, Nice Work If You Can Get It
Jessie Mueller, On A Clear Day You Can See Forever
Da’Vine Joy Randolph, Ghost the Musical
Best Scenic Design of a Play
John Lee Beatty, Other Desert Cities
Daniel Ostling, Clybourne Park
Mark Thompson, One Man, Two Guvnors
* Donyale Werle, Peter and the Starcatcher
Best Scenic Design of a Musical
* Bob Crowley, Once
Rob Howell and Jon Driscoll, Ghost the Musical
Tobin Ost and Sven Ortel, Newsies
George Tsypin, Spider-Man Turn Off The Dark
Best Costume Design of a Play
William Ivey Long, Don’t Dress for Dinner
Paul Tazewell, A Streetcar Named Desire
Mark Thompson, One Man, Two Guvnors
* Paloma Young, Peter and the Starcatcher
Best Costume Design of a Musical
* Gregg Barnes, Follies
ESosa, The Gershwins’ Porgy and Bess
Eiko Ishioka, Spider-Man Turn Off The Dark
Martin Pakledinaz, Nice Work If You Can Get It
Best Lighting Design of a Play
* Jeff Croiter, Peter and the Starcatcher
Peter Kaczorowski, The Road to Mecca
Brian MacDevitt, Arthur Miller’s Death of a Salesman
Kenneth Posner, Other Desert Cities
Best Lighting Design of a Musical
Christopher Akerlind, The Gershwins’ Porgy and Bess
Natasha Katz, Follies
* Natasha Katz, Once
Hugh Vanstone, Ghost the Musical
Best Sound Design of a Play
Paul Arditti, One Man, Two Guvnors
Scott Lehrer, Arthur Miller’s Death of a Salesman
Gareth Owen, End of the Rainbow
* Darron L. West, Peter and the Starcatcher
Best Sound Design of a Musical
Acme Sound Partners, The Gershwins’ Porgy and Bess
* Clive Goodwin, Once
Kai Harada, Follies
Brian Ronan, Nice Work If You Can Get It
Best Choreography
Rob Ashford, Evita
* Christopher Gattelli, Newsies
Steven Hoggett, Once
Kathleen Marshall, Nice Work If You Can Get It
Best Direction of a Play
Nicholas Hytner, One Man, Two Guvnors
Pam MacKinnon, Clybourne Park
* Mike Nichols, Arthur Miller’s Death of a Salesman
Roger Rees and Alex Timbers, Peter and the Starcatcher
Best Direction of a Musical
Jeff Calhoun, Newsies
Kathleen Marshall, Nice Work If You Can Get It
Diane Paulus, The Gershwins’ Porgy and Bess
* John Tiffany, Once
Best Orchestrations
William David Brohn and Christopher Jahnke, The Gershwins’ Porgy and Bess
Bill Elliott, Nice Work If You Can Get It
* Martin Lowe, Once
Danny Troob, Newsies
Please Vist Playbill.com & Broadway.com for a complete list of winners from some of Broadway’s other leading awards - including The Drama Desk Awards, Critics’ Circle Awards, and more …
Friday, 27 April 2012
Leap of Faith @ St. James Theatre
Andrew Lloyd Webber is not the only one tearing up Broadway these days; Leap of Faith marks the third show (and second to open this season) currently running with a beat provided by Alan Menken. This new musical puts a twist on how musicals are structured by putting the audience right in the center of all of the action - for the St. James Theatre is turned into the latest stop on Pastor Jonas Nightingale’s evangelical tour. Filled with gospel and R&B tracks, soulful performances from the likes of Raúl Esparza and Krystal Joy Brown, simple yet elegant designs, and stand-up-and-clap chorography, Leap of Faith is a surprisingly enjoyable new musical; however, strong vocals does not equal strong acting, as this aspect leaves the audience begging for a miracle all their own.Based off of the 1992, Steve Martin film of the same name, this original musical looks into the life of a true American con artist, Pastor Jonas Nightingale. Along with a bus full of “believers,” Jonas is forced to set up camp in Sweetwater, Kansas - a town under the watchful eye of Sheriff Marla McGowan. Seeing right through his lies, Marla begs Jonas to pack up his church in a tent and head out on his way; however, her son Jake sees things a bit differently. Jake, while forced to spend his life in a wheelchair, believes in magic … believes in miracles - like being able to walk again or rain to end the drought. Of course, Jonas falls for Marla and Jake and is forced to make some miracles happen … the only trouble is, not even Jonas believes in a miracle. With time pressing down on him, it is u to Jonas to not only find his faith, but the faith of an entire town.Leading this cast is the multi-talented Raúl Esparza (Arcadia) as Jonas Nightingale. Jonas is an over the top performer with an infectious personality - the crowd cannot help but fall in love with him and his “miracles.” Esparza makes a nice fit into this high energy role; his distinct sound and acting style brings a refreshing twist on the stereotypical evangelist look. Many of Esparza’s faults throughout the piece lie in the romantic chemistry between Jessica Phillips (Priscilla Queen of the Desert) and himself. Phillips plays headstrong Marla McGowan - the sheriff of Sweetwater who has no time for fun and games, especially with a town drought and a son in a wheelchair. While her powerful voice helps several slow moving ballets along, the relationships between her and the rest of the ensemble were never really formed - not all blame can be placed on her, however, as many of this show’s problems lie within the script itself. Together with original screen writer Janus Cercone, Warren Leight (Side Man) tries to take a simple story and stretch it out into a full hit musical. The result leaves for an uneventful Act I, several drawn out scenes, awkward transitions, and too many never-ending songs. While Cercone and Leight are on the right track, the book is still in need of much improvement - for the story never really hits a stride until the final ten minutes, even with the songs from Alan Menken (the current Newsies and Sister Act) and Glenn Slater (the current Sister Act). Menken and Slater have several hits to their name - all known for their rememberable and touching songs; however, these new gospel and R&B tunes are far from that. Most songs similar to one another - either flashy or slow - and never really advance the plot. The book and songs hinder the great big hit that this group of producers was hoping for.Fighting against the weakness, is an incredibly talented ensemble, clapping their way through Sergio Trujillo’s (Jersey Boys) quick paced choreography that appeared to be ripped right out of a “How to Dance Like a Gospel Choir” handbook. Taking family talent to a whole new level is the trio of performers playing the Sturdevant family. Playing mamma and daughter are Kecia Lewis-Evans (The Drowsy Chaperone) and Krystal Joy Brown (Hair), respectively. Both women are given the chance to belt their pain away, delivering soulful performances that bring down the house. Mark these following words: “Krystal Joy Brown is going to get her name above the marquee one day!” Adding some brotherly love to the mix is Smash star, Leslie Odom, Jr., who tares up the dance floor with the song “Dancin’ in the Devil’s Shoes.” Also taking some time in the spotlight is Kendra Kassebaum (Wicked) as Jonas’ little sister, Sam. Sam is smart, funny, and charming - all qualities that Kassebaum has no trouble pulling off. Rounding out the featured ensemble is Talon Ackerman (Bonnie & Clyde) as Marla’s little son Jake. Ackerman gives a moving performance as the boy who believes. The whole ensemble works hard to make the audience feel like they are a part of the action … now if only the creative team was on their side.Under the direction of Christopher Ashley (Memphis), this God-bearing musical took too many hits. While the book was choppy and the songs too long, Ashley did the play a huge disservice by trying to force awkward transitions that never really gave the piece a steady flow. Also, Ashley ignored some of the acting problems in hopes that the star name and flashy songs would cover them up; however, it is hard to ignore two trained actors not knowing how to drink alcohol through the entirety of a song. The one thing Ashley did correctly was enlist the help of designers Robin Wagner (Young Frankenstein) for the set, Donald Holder (Spider-Man: Turn Off the Dark) for the lights, and William Ivey Long (Catch Me If You Can) for the costumes. The set was simple, yet transformed the entire space into an evangelist tent within seconds. The bright, bold colors of the set were illuminated by the stunning mix of concert and theatrical lighting used to separate the world of the miracles from real life. And, all was brought together with stunning costume design that transformed the bus full of tired believers into a gospel choir for each evangelical performance.In the end, this production tells a really simple story with some nice new songs, but overall, much like the town itself, is in need of some water to bring it back to life. Leap of Faith is sure to see every church group in the tri-state area there to worship; however, for the everyday theatre go-er, this new musical will not make you jump out of your seat to yell, “AMEN!”
Thursday, 26 April 2012
Clybourne Park @ The Walter Kerr Theatre
American culture today can be considered a giant mixing pot. People of different religions, genders and races make up one of the most diverse populations on the planet, but this was not always the case. There used to be a time when the world was separated by sex, belief, and, most prominently, color. The transition from this separated world into the one we live in today can be considered one of the most difficult struggles man has ever faced and is one that many are still fighting today. Bruce Norris’ Clybourne Park, with the help of a phenomenal cast and gorgeously detailed set, puts into perspective some of the most basic obstacles people faced when dealing with the goals of racial equality. It shows how even the smallest of events can change the world, forcing audience members to reevaluate how they look at others and to see their own views in a whole new color.
In 1959, Clybourne Park was a prestigious middle-class white neighborhood - one of respectable society, but one household is plagued by a heinous tragedy that had occurred only a few years earlier. The owners of this house, Bev and Russ, have just closed the real-estate deal when the neighbors pop in to say goodbye; however, upon finding out that the family moving into the house is African-American, there is an uproar. Now along with trying to cope with their own tragedy, and already under the ever scrutinizing eyes of the neighbors, the family has to deal with the societal affects their sale is likely to have on the entire neighborhood. In Act II, it can be seen exactly what the first domino piece resulted in, not only for the house but for the entire community. It’s 2009 and now a white couple, Karl and Lindsey, want to remodel the home for their future family. The only problem is that the now African-American community that dominates Clybourne Park claims that the house cannot be changed because of its history. But, are the issues really about a historical building or are they about the underlying affects, as seen in 1959, which will occur in the neighborhood if a house is sold to the white family? Clybourne Park explores all of the possibilities and consequences the actions of these people can have on the community as a whole in this historical and beautifully written piece of literature.
The success of Clybourne Park depends almost entirely on each actor’s ability to create multiple, but completely distinct, and in many ways opposite characters. For the most part, the ensemble of seven pulled this off beautifully. The piece opens on a very aged and distressed father named Russ, played by Frank Wood (Side Man).Wood’s obvious distress over the tragedy that occurred and his inability to continue to live his life the way he has been makes the audience fall in love with this grandfather-like figure. His next character is so opposite to Russ that it is remarkable to think he is played by the same actor. Dan is a middle-aged construction worker with the uncanny ability to jump into the most intense moments at exactly the wrong time. His appearance always leaves the audience clutching their sides at his distracted banter and genuine cluelessness. Alongside Russ is his loving but somewhat ignorant wife, Bev. Played by Christina Kirk (Well), Bev is meant to be a tragic character that chooses to ignore the fact that her world has crumbled around her and that her husband is a senile old miserable man. Sadly the only tragedy was the lack of believability in Kirk’s character. From her wildly waving arms to her over exaggerated realizations, Kirk caused Bev to be completely un-relatable to the audience. Kirk had similar problems with her other character Kathy. Kathy’s role was the overly obnoxious and sarcastic L.A. style real-estate agent. Obnoxious was a good word for Kirk’s acting choices; every time she opened her mouth there would be an internal groan from the audience, begging for her silence. The white couple’s counterparts were Francine and Albert, played by Crystal A. Dickinson (Off-Broadway’s Ruined) and Damon Gupton (television’s Prime Suspect) respectively. They also played the roles of Lena and Kevin, a married couple trying to save a historical landmark in 2009. The dynamic between the two on stage was just plain amazing. They were by far the audience’s favorite couple in both acts. Between her bitter sarcastic comments and his charm, the audience was completely engrossed in their performances. They stood by each other in moments of need and in moments where they disagreed - the audience could almost feel the patronizing that can only come from a loved one. The bicker is actually what brought the entire couple act together. Helping to increase the drama going on in Clybourne Park is Brendan Griffin (Off-Broadway’s Bottom of the World). Griffin’s character, Jim, always acted like the peace-maker and always managed to gain the audience’s admiration. His other character, Tom, as usual, was the complete opposite; he was a cocky real-estate agent who couldn’t care less about what happened to his rental agreement. He also is the only cast member to play three people instead of two, and his last character is the most important. He plays the mysterious Kenneth that the household tragedy surrounds. All three are distinctly different in mannerisms and vocal tendencies. Griffin did a stupendous job in creating three opposite characters. The last couples to claim the stage are Betsy and Karl, Annie Parisse (Prelude to a Kiss) and Jeremy Shamos (Elling) respectively. Parisse’s performance as Betsy was approached with so much integrity and grace. It is very difficult to successfully convince audience members that a character has some sort of impediment, especially when the impediment involves losing one of the core senses humans rely on. Though mostly deaf, Betsy was still just aware enough of people’s body stances and the atmosphere of the room to know that something horrible was happening. Parisse made Betsy so believable and the relationship between Kirk and her was hysterical to watch. As Lindsey, the pregnant newly-wed, Parisse was an elegant young woman whose concerns about how other people view her and her family were very relatable to the audience. Concluding this astounding cast is Jeremy Shamos. First as the bigot, Karl, married to Parisse and neighbor to Kirk and Wood. The audience can’t help but hate his arrogant and degrading ways. Then as Steve, the passionate young man who sees the truth underlying Dickinson’s intentions. Shamos then manages to completely flip Steve’s actions and turn him inside out so that the audience can see that he is no better than Dickinson’s character. The cast does a wonderful job at creating believable, lovable and sometimes the necessarily dislikeable characters that are needed to make Clybourne Park such an astounding piece of theatre.
If the beauty of the sheer history isn’t what holds the audience’s interest, another reason to see Clybourne Park is the Scenic Designer’s, Daniel Ostling (Metamorphoses), amazing attention to detail. The world inside of and surrounding the house in 1959 is already so beautifully created that when the transformation into 2009 happens, the audience can hardly believe that it is the same place! But the attention given to the small details such as the placement of light switches and the wall paper and fireplace are so great that it really does look as if the house has aged fifty years. Helping to create the two very different worlds are costume designer Ilona Somogyi (Off-Broadway’s Regrets), lighting designer, Allen Lee Hughes (Having Our Say) and sound designer, John Gromada (the current Seminar). All can take claim to success with Clybourne Park because the believability of the actors was greatly helped along by the fact that their worlds were so distinctly defined and beautifully detailed.Under the direction of Pam Mackinnon (Off-Broadway’s Completeness), the cast and crew really have an amazing piece on their hands. Theatre should force the audience to question themselves and the world surrounding them - to see the bigger picture. Clybourne Park is a fantastic reflection of society and the changes that have occurred in the last sixty years alone! It’s a wonderful addition to theatre and definitely worth every second of the audience’s time.
Review By: Tom Garvin
In 1959, Clybourne Park was a prestigious middle-class white neighborhood - one of respectable society, but one household is plagued by a heinous tragedy that had occurred only a few years earlier. The owners of this house, Bev and Russ, have just closed the real-estate deal when the neighbors pop in to say goodbye; however, upon finding out that the family moving into the house is African-American, there is an uproar. Now along with trying to cope with their own tragedy, and already under the ever scrutinizing eyes of the neighbors, the family has to deal with the societal affects their sale is likely to have on the entire neighborhood. In Act II, it can be seen exactly what the first domino piece resulted in, not only for the house but for the entire community. It’s 2009 and now a white couple, Karl and Lindsey, want to remodel the home for their future family. The only problem is that the now African-American community that dominates Clybourne Park claims that the house cannot be changed because of its history. But, are the issues really about a historical building or are they about the underlying affects, as seen in 1959, which will occur in the neighborhood if a house is sold to the white family? Clybourne Park explores all of the possibilities and consequences the actions of these people can have on the community as a whole in this historical and beautifully written piece of literature.
The success of Clybourne Park depends almost entirely on each actor’s ability to create multiple, but completely distinct, and in many ways opposite characters. For the most part, the ensemble of seven pulled this off beautifully. The piece opens on a very aged and distressed father named Russ, played by Frank Wood (Side Man).Wood’s obvious distress over the tragedy that occurred and his inability to continue to live his life the way he has been makes the audience fall in love with this grandfather-like figure. His next character is so opposite to Russ that it is remarkable to think he is played by the same actor. Dan is a middle-aged construction worker with the uncanny ability to jump into the most intense moments at exactly the wrong time. His appearance always leaves the audience clutching their sides at his distracted banter and genuine cluelessness. Alongside Russ is his loving but somewhat ignorant wife, Bev. Played by Christina Kirk (Well), Bev is meant to be a tragic character that chooses to ignore the fact that her world has crumbled around her and that her husband is a senile old miserable man. Sadly the only tragedy was the lack of believability in Kirk’s character. From her wildly waving arms to her over exaggerated realizations, Kirk caused Bev to be completely un-relatable to the audience. Kirk had similar problems with her other character Kathy. Kathy’s role was the overly obnoxious and sarcastic L.A. style real-estate agent. Obnoxious was a good word for Kirk’s acting choices; every time she opened her mouth there would be an internal groan from the audience, begging for her silence. The white couple’s counterparts were Francine and Albert, played by Crystal A. Dickinson (Off-Broadway’s Ruined) and Damon Gupton (television’s Prime Suspect) respectively. They also played the roles of Lena and Kevin, a married couple trying to save a historical landmark in 2009. The dynamic between the two on stage was just plain amazing. They were by far the audience’s favorite couple in both acts. Between her bitter sarcastic comments and his charm, the audience was completely engrossed in their performances. They stood by each other in moments of need and in moments where they disagreed - the audience could almost feel the patronizing that can only come from a loved one. The bicker is actually what brought the entire couple act together. Helping to increase the drama going on in Clybourne Park is Brendan Griffin (Off-Broadway’s Bottom of the World). Griffin’s character, Jim, always acted like the peace-maker and always managed to gain the audience’s admiration. His other character, Tom, as usual, was the complete opposite; he was a cocky real-estate agent who couldn’t care less about what happened to his rental agreement. He also is the only cast member to play three people instead of two, and his last character is the most important. He plays the mysterious Kenneth that the household tragedy surrounds. All three are distinctly different in mannerisms and vocal tendencies. Griffin did a stupendous job in creating three opposite characters. The last couples to claim the stage are Betsy and Karl, Annie Parisse (Prelude to a Kiss) and Jeremy Shamos (Elling) respectively. Parisse’s performance as Betsy was approached with so much integrity and grace. It is very difficult to successfully convince audience members that a character has some sort of impediment, especially when the impediment involves losing one of the core senses humans rely on. Though mostly deaf, Betsy was still just aware enough of people’s body stances and the atmosphere of the room to know that something horrible was happening. Parisse made Betsy so believable and the relationship between Kirk and her was hysterical to watch. As Lindsey, the pregnant newly-wed, Parisse was an elegant young woman whose concerns about how other people view her and her family were very relatable to the audience. Concluding this astounding cast is Jeremy Shamos. First as the bigot, Karl, married to Parisse and neighbor to Kirk and Wood. The audience can’t help but hate his arrogant and degrading ways. Then as Steve, the passionate young man who sees the truth underlying Dickinson’s intentions. Shamos then manages to completely flip Steve’s actions and turn him inside out so that the audience can see that he is no better than Dickinson’s character. The cast does a wonderful job at creating believable, lovable and sometimes the necessarily dislikeable characters that are needed to make Clybourne Park such an astounding piece of theatre.
If the beauty of the sheer history isn’t what holds the audience’s interest, another reason to see Clybourne Park is the Scenic Designer’s, Daniel Ostling (Metamorphoses), amazing attention to detail. The world inside of and surrounding the house in 1959 is already so beautifully created that when the transformation into 2009 happens, the audience can hardly believe that it is the same place! But the attention given to the small details such as the placement of light switches and the wall paper and fireplace are so great that it really does look as if the house has aged fifty years. Helping to create the two very different worlds are costume designer Ilona Somogyi (Off-Broadway’s Regrets), lighting designer, Allen Lee Hughes (Having Our Say) and sound designer, John Gromada (the current Seminar). All can take claim to success with Clybourne Park because the believability of the actors was greatly helped along by the fact that their worlds were so distinctly defined and beautifully detailed.Under the direction of Pam Mackinnon (Off-Broadway’s Completeness), the cast and crew really have an amazing piece on their hands. Theatre should force the audience to question themselves and the world surrounding them - to see the bigger picture. Clybourne Park is a fantastic reflection of society and the changes that have occurred in the last sixty years alone! It’s a wonderful addition to theatre and definitely worth every second of the audience’s time.
Review By: Tom Garvin
Tuesday, 24 April 2012
Nice Work If You Can Get It @ Imperial Theatre
Musicals today often come to Broadway based on movies featuring large flash sets, millions of projections, and lighting that could light the whole state - they are simply there to dazzle you for two and a half hours, and that is all well and good; however, Broadway has needed a reminder of the golden years! The days when music, dance, love, and laughs filled the stage to not only entertain, but tell a story of love! Nice Work If You Can Get It is just that musical. Using the songs of George and Ira Gershwin, a book written by Joe DiPietro, the direction of Kathleen Marshall, and two of Broadway’s biggest names, this new musical comedy is light, sweet, and entertaining. It does, however, fall a bit short of perfect - a lagging plot, drawn out songs, and some lapse in comedy, make this piece fall short of the perfect old fashioned musical it is trying to become. Nice Work If You Can Get It is lovely fun, but fails to shine the way one might hope when seeing all of the grade A+ professions listed in the Playbill.Meet Jimmy Winter, a drunken playboy who is about to marry wife number four. Enter stage left, Billie Bendix, an alcohol smuggler during the prohibition. Two different worlds, but one heart. The classic boy-meets-girl comedy is resurrected as Jimmy and Billie desperately try to find love in New York in the year 1927. As the prohibition rages on, Duchess Estonia Dulworth and her brother Senator Max Evergreen, fight the war on alcohol all while trying to plan the wedding of Eileen Evergreen and Jimmy. To add to the mix up, Billie’s partners in crime, Cookie McGee and Duke Mahoney, wind up posing as a butler and chef in order to hide the fact that their stash of alcohol in hidden in the mansion where the action of the play is taking place. Door slamming, wise cracks, and sex farce run high as everyone tries to weave their own way out of trouble; the only problem is that every could really use a strong drink to help them figure it all out!Broadway icons sing and dance their way through the Gershwin’s classic hits, such as “Someone to Watch Over Me,” “Let’s Call the Whole Thing Off,” and “But Not for Me.” Led by the triple threat duo of Matthew Broderick (The Producers) and Kelli O’Hara (South Pacific), this new musical is given the star power to shine. Broderick does a nice job playing the drunken playboy; while at times his performances feels a bit tired and worn, he still has the vocal and dance chops to help him along. Broderick still delivers with his charm and wit in order to be the perfect companion for O’Hara, who shines as always with her stunning voice, high energy, and awesome dance work. She lights up the stage with each song and dance number, and leaves the audience begging for more at the end of each ballet. This dream team unites and does a lovely job falling through all of the ups and downs of a love-at-first-sight relationship. Surrounding Broderick and O’Hara is an ensemble of extremely talented performers. Michael McGrath (Memphis) and Chris Sullivan (Lombardi) shine as the “alcohol gangsters” forced to go undercover. Both are terrific charter actors that promise a laugh with each scene that they are in! Jennifer Laura Thompson (Lend Me A Tenor) uses her wonderful vocal chops to belt out the classic “Delishious” while immersed in a giant tub filled with floating bubbles and endless chorus girls. Also taking a turn in the spotlight is Judy Kaye (Mamma Mia!) as Duchess Estonia Dulworth. Kaye takes the comedy level up a notch as the tightly wound Duchess slowly loses her uptight ways. The rest of the ensemble does a fine job of moving to the stunning and non-stop choreography of Kathleen Marshall. The entire ensemble gels together to deliver a fine performance in dance, voice, and comedy.Master mind Kathleen Marshall (the current revival of Anything Goes) takes the music of the Gershwin’s and the words of Joe DiPietro (Memphis) in order to recreate the feel of the original musical comedies. DiPietro does a nice job with the book, creating a world the in light and fun, but hounded with long songs that ultimately make the piece feel dragged out and a little too long. The phrase ‘too much of a good thing’ can easily be applied to this new Broadway musical. Too many song and dance numbers, while arranged well, drag out a story that is really simple and has no need to be dragged on through almost three hours. Even the designs felt to me a bit too much. While the scenic design from Derek McLane (the current revival of The Best Man) is lush and gorgeous, it is extremely over powering making the performers feel claustrophobic in what is supposed to be a huge mansion. Lighting design from Peter Kaczorowski (Venus in Fur) was beautiful, but was forced to change colors at the start of each new song after only a few lines a dialogue. Costume designer Martin Pakledinaz (The Normal Heart) is the shining star of the production team creating period pieces that are stunningly crafted and just marvelous to look at. Over all, director Kathleen Marshall does a nice job with this piece, but did not take it the extra notch needed to make this new romp stand out as the next best original musical.Nice Work If You Can Get It offers an enjoyable night at the theatre, full of crazy good dancing, great vocals, and light chuckles. Broderick and O’Hara do their job to make the audience escape into the world of the prohibition through song and dance. In the end, however, the audience walks out singing something like, “It’s a nice comedy if you can get it, and get it well … they tried.”
Ghost the Musical @ Lunt-Fontanne Theatre
In 1990, a new kind of romance captivated movie audiences around the world as the supernatural took over. Ghost became an instant romance classic with heart throbs Patrick Swayze and Demi Moore and soon to be Academy Award winner Whoopi Goldberg. Years later the romance lives on live on stage; following a successful run in London, Ghost the Musical has now hit the Great White Way. Staying true to the movie, this new musical still has the same story full of passion and heart; however, something has been lost in translation. Giving itself over completely to state-of-the-art technology, this production lets the story fall to the sidelines in order to showcase stunning lights, projections, and illusions. And, most important of all in a musical, the songs lack the melodies and beats that all brilliant musicals have. Ghost the Musical is full of flash and glamour, but lacks the niceties of a great new Broadway musical.Sam Wheat and Molly Jensen are in love, even if Sam has trouble saying those three little words. Life is good for this couple - Sam is a high end banker in the city, Molly is an artist whose working is getting recognition, and together they just purchased a New York flat. Soon, however, Sam notices some assets in the company are out of place, and his right-hand-man Carl Bruner knows why and has to put an end to the investigation. While walking the streets of NYC one night, Sam and Molly are robbed at gun point and Sam is shot; however, his soul remains trapped on Earth where one person and one person only can hear him, the fake psychic Oda Mae Brown. Together, Sam and Ode Mae must put an end to Carl in order to save the one person that means everything to him, Molly. All three learn that love never dies.As a whole, the ensemble worked nicely with one another to create the hustle and bustle of the New York streets - everyday workers and spirits coming together as one. Taking on the iconic roles of Sam and Molly are Richard Fleeshman (West End’s Legally Blonde) and Caissie Levy (Hair). Together this pair was spot on; however, when apart the different levels of talent came out. Levy has a wonderful voice and delivers a performance that is truthful and full of life; taking command of several ballets and plenty of alone time on stage is no easy feat, but she handles it with lots of energy and passion. Fleeshman has a nice voice, a great six-pack, but lacked some of the needed chemistry. While it is not easy to constantly be in every scene as an outside observer, Fleeshman felt very distant from the rest of the real world; the connections felt very distant and cold … not the qualities that make for a great romance. Playing the not so nice third wheel is Bryce Pinkham (Bloody Bloody Andrew Jackson) as Carl. Pinkham finds that medium between ‘straight up jerk’ and ‘best friend’ - a device that can often be hard to obtain. The true star of Ghost the Musical, however, is new comer Da’Vine Joy Randolph as the one and only Oda Mae Brown. Stealing all of the jokes, well written songs, flashy costumes, and big dance number, some may think that Randolph has it made; however, stepping into a role loved by millions is far from easy to pull off. With a role that could easily be over the top, she finds the truth in this woman making her a down to earth person … who can hear dead people, of course. This will only be the start of this highly gifted woman’s career!From start to finish, the musical set out to be a technical mastermind, and in this regard, it succeeds. Director Matthew Warchus (La Bête) assembled some of the best technical staff one could find - from high end projections to stunning lighting, Ghost the Musical is a design triumph. Rob Howell (Private Lives) and Jon Driscoll (Brief Encounter) work beautifully together as the scenic designer and projection designer respectively. Made up of tons of moving LED screens that transform into a New York flat, high end office buildings, and a subway station, these visual elements were taken to the next level. The work from these two designers was nothing short of brilliant; even Hugh Vanstone’s (God of Carnage) lighting design was breathtaking. Lighting the space in an ominous way really brought the atmosphere of the piece into the whole theatre allowing the audience to get lost in the world of the supernatural. The only problem, which was a big one, is the fact that all of these design elements were a pleasant distraction from the weak book by Bruce Joel Rubin (screenwriter of the original 1990 film) and awkward songs from music icons Glen Ballard and Dave Steward. While the book does not altar much from the original concept, long ranting songs with not clear melody constantly interrupt the flow of the scenes needed to make the audience connect to the characters the way everyone did twenty-one years ago. Overall, the weak book and songs are overshadowed by the high end technical elements that are truly beautifully done.Rumors are going around that this latest movie-turned-musical is a sure fired flop; however, this is not all true. There are several lovely performances from the likes of Caissie Levy and Da’Vine Joy Randolph, wonderful lighting and projections, and a reminder of the truly moving story line that captivated audience’s years earlier on screen. Ghost the Musical is a plesent new musical with kick ass designs … just know that one’s love of the songs will die very quickly … that is if they will be able to remember any of them the next day.
