There is that moment, when the house is dark and just before the curtain rises, that sends a small shiver down your spine. Let's capture that moment together!
Lights dim, the curtain goes up. Suddenly, we are transported into the imagination of a playwright and actors we do not know! The stage is set for magic and fireworks.
We are still catching up with the 2013 Tony winners here at T and B On The Aisle. A case in point: http://tbontheaisleatheaterdiary.blogspot.com/2014/04/matilda-is-just-right.html. Another is "Pippin," winner as the best musical revival of 2013, along with Andrea Martin for a supporting role, and the extraordinary Patina Miller for "Best Actress in a Musical." "Pippin" is still at the Music Box, but Patina Miller has moved on, replaced by Ciara Renee as the coyly named "Leading Player." It's likely that strongmen and circus acts were more revolutionary theatricalities in the 1972 original Broadway production in which Ben Vereern starred. Pippin, himself, is a silly twit overly impressed with his exceptionalism, and well-played by Kyle Dean Massey (in the current cast). He lacks the naive charm of, say, Candide, but Annie Potts is charming as his acrobatic grandmother.
Billy Porter, Daniel Stewart Sherman, and Marcus Neville (right) Photo (c) Matthew Murphy
On the other hand, "Kinky Boots" fulfills the razzmatazz its many Tony statuettes promised. Billy Porter, its rags to riches--or chorus to leading man at any rate, star is as fresh and peppy in his award winning role as Lola as if he hadn't been doing this for over year. "Kinky Boots," with music and lyrics by Cyndi Lauper 2013 Tony,) and a book by Harvey Fierstein at the Al Hirschfeld Theatre, is a lively heart-warming joyful musical extravaganza.
Idina Menzel center with cast of "If/Then" from the creative team of Brian Yorkey and Tom Kitt. Photo by Joan Marcus.
Here we are in 2014, however so let's put Idina Menzel at the top of the slate of Tony possibles in the bifurcated role of Liz/Beth, along with her quirky sometimes confusing show, "If/Then," from the creative team of Brian Yorkey (book and lyrics) and Tom Kitt (music.) (Note that Kitt and Yorkey and Menzel are nominees, but the show did not make the cut. That's a shame.)
LaChanze and Anthony Rapp in a scene from "If/Then."
Photo by Joan Marcus.
"If/Then," at the Richard Rodgers Theatre, is about choice, chance, fate, happenstance, and possibility. It's also thought-provoking and dynamic. Anthony Rapp, as Lucas, Liz/Beth's best friend and maybe lover, is charmingly annoying, but in a good way. LaChanze is perky and positive as the accepting and open Kate.
Tamika Lawrence, Jenn Colella, LaChanze and Idina Menzel.
Photo by Joan Marcus.
Idina Menzel is a fierce and resolute performer; certainty pours out with every line and each note. These qualities add to the interest of her role as the vacillating Liz/Beth-- two women in one. In "If/Then," each path she might take is fully played out. The choices are all laid out for her and us.
Jerry Dixon, Ann Sanders and Idina Menzel. Photo by Joan Marcus.
One of these paths has Liz marry the hunky and handsome Josh (James Snyder,) whom she meets by chance at a park and runs into on a subway. The other has Beth flirting with her boss, Steve (Jerry Dixon.)
It's a nice touch that she is a city planner, designing the pathways for so many lives in the big city. "If/Then" is an unapologetically urban, New York City centric musical drama. It's smart, well-paced, --under the very able direction of Michael Grief--, beautifully designed--with a truly novel and delightful set by Mark Wendland--, wonderfully acted by a large, tight ensemble. It is also unlike any other musical play.
If I hadn't seen it, Then I would have missed an exciting theatrical experience. Michael Grief does everything he can to clarify the dichotomies of the script. Pay close attention, but don't overthink it. Enjoy "If/Then" for the wonderful ride it is.
Cheerleading is not a philosophical endeavor. We get that. But it should have plenty of verve.
"Bring It On, The Musical," at the St. James Theatre for a limited run through October 7th, wants to make absolutely clear that it is a physically demanding activity.
The cast of "Bring It On" (C) Photo by Joan Marcus
In fact, Campbell (Taylor Louderman) narrates the facts of her life as she becomes the captain of the Truman pep-squad, introducing the predictable power points that describe this spirited pursuit and the dedication with which she pursues it. Complications follow when Campbell is transferred to Jackson High in a stroke of redistricting. At Jackson, Campbell meets Danielle (Adrienne Warren) the leader of a dance crew.Will she triumph and find her "One Perfect Moment?"
Taylor Louderman, Neil Haskell, Kate Rockwell, and Janet Krupin (c) Photo by Joan Marcus
The songs (by the usually brilliant Lin-Manuel Miranda ("In The Heights" was terrific) who teams up with Amanda Green on lyrics and Tom Kitt for the music) narrate a dull recitation of the lives of girls determined to win a state championship in rallying. Jeff Whitty has created a libretto based on the 2000 movie written by Jessica Bendinger to take "Bring It On" to the stage.
Adrienne Warren and cast. Photo (c) Joan Marcus
Once there, even with propulsive rally-squad moves and togh hip-hop inflected dancing (choreographed by Andy Blankenbuehler, who also directs), "Bring It On" dies a thousand deaths. Stereotypes abound: the black girls (and guys) are cool, the white girls vapid. Campbell's boyfriend Steve (Neil Haskell) is pretty effectively channelling his inner Woody Harrelson as Woody Boyd from "Cheers." Despite the paucity of interesting characters, Adrienne Warren as the head of the Jackson dancers, and Ryann Redmond as the fat girl, Bridget, are both quite charming.
Gasps of admiration at girls tossed into the air and landing gracefully quickly dissipate in the general dumbing down. Unfortunately dumbing down seems to have risen to a competitive sport in this musical. Aiming squarely for the lowest common denominator, "Bring It On" hits its target.
