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.
The Boston Ballet brought their 50th year party to Lincoln Center's David H. Koch Theater with two alternating programs of varied masterworks. The oldest choreography was from the Vaslav Nijinsky oeuvre, and the newest fromJosé Martinez which had its world premiere at their home in February of this year.
The Boston Ballet's rendering of George Balanchine's "Symphony in Three Movements" is as perky and fresh of face as the expert youngsters in the company. The dancers are skilled; their presentation is precise and fluid. In a beautifully executed version of the Balanchine classic, John Lam is a standout. Also commendable are the orchestra, under the leadership of conductor Jonathan McPhee, whose vigorous performance of the Igor Stravinsky score contributed to a magnificent production. The wildly theatrical Nijinsky "Afternoon of a Faun" is brought to life by Altan Dugaraa's marvellous titular beast. The costumes and sets by Leon Bakst hearken to the lavish original. Resident choreographer, Jorma Elo fashioned "Plan to B" for the Boston Ballet in 2004 (a year before he took up his residency.) It is a powerful and exciting work set to the music of Heinrich von Biber. "The Second Detail," set to the electronic pulses of Thom Willems, has a rehearsal atmosphere at once casual and formalistic. The troupe, as always, gives a superb performance of the complicated movements. José Martinez contributes a very classic and classy piece, set to Liszt and played by solo pianos (Alex Foaksman and Frieda Locker) with the music coming from both sides of the stage. "Resonance" is simply gorgeous to hear and watch. In Boston? Visit the Boston Ballet website, http://www.bostonballet.org/ for tickets. For more about the history of the company, see their Wikipedia listing.
There is something about the lure of the unknown that will turn men into adventurers.
James Riordan in "Donogoo" by Jules Romains. Directed
by Gus Kaikkonen
at The Mint. Photo: Richard Termine
"Donogoo," at the Mint Theater through July 27th, is a tale of greed, mistaken geography, and the triumph of the imagination. Jules Romains' delightful play originally opened in 1930 to great acclaim, saving the flounderingThéâtre Pigalle from dissolution.
Land speculation, gold fever, all roads lead to Donogoo Tonka, an error that turns into a scam. Benin (the superb Mitch Greenberg) plucks a suicidal Lamendin (James Riordan, who is fantastic) back to life. At the direction of the quack psychologist Miguel Rufesque (George Morfogen) to whom Benin sends him, Lamendin seeks out a stranger, Le Trouhadec (the ever versatile Morfogen again), a disgraced geographer, to assist.
Le Trouhadec's discovery, the lost city of Donogoo Tonka may not exist. Lamendin sees an opportunity.With the help of a questionably honest banker, Margajat (Ross Bickell in top form), Lamendin forms a stock company to develop the mineral-rich city and its environs. Shareholders (Megan Robinson, playing all the women in the play, and Kraig Swartz, among them) begin to question the existence of Donogoo, but prospectors have already begun to turn the fiction into a reality.Le Trouhadec is vindicated.
The translation by Gus Kaikkonen, who also directs with a deft delicacy, is impeccable and elegant. The applause the sets, by Roger Hanna, and special effects, by Hanna with Price Johnston, elicit are well-merited. The exceptional ensemble are all in perfect step, doing justice to the material's subtle and satiric humor. Among these standouts, Scott Thomas as Joseph, the sensible pioneer, catches the eye.
"Donogoo" is seriously funny, with a sharp and sincere wit. And this production is terrific.
The Mint Theater doesn't just "find lost plays," it uncovers their relevance.
For tickets and to learn more about "Donogoo," visit The Mint's website.
But, the significance of June 16th to the lit. crowd is that in 1924 James Joyce declared it to be Bloomsday. June 16, 1904 is the date of the events in his very long novel "Ulysses" and the day is named for its protagonist Leopold Bloom.
June 16, 2014 Origin's First Bloom at Bloom's Taven of course. Photo by Jimmy Higgins.
Bloomsday, or for the Irish purists, Lá Bloom, is most often commemmorated with readings from the novel. In the interest of full disclosure and total honesty, I will admit that what I know of the work is from NPR's presentation of the annual Symphony Space event.
Origin Theatre Company, a New York City "gateway for European playwrights," hosted its first everLá Bloom at the new midtown tavern aptly named Bloom's. The bar provided an excellent full Irish breakfast and 7:30am mimosas served by a friendly staff; costumed actors greeted arrivals with flowers and flower petals. Malachy McCourt, gracious and charming, was on hand to kick off the readings. He chose a passage about Hell from Joyce's "The Governors" but tweaking tradition is a lovely thing to do. Ireland's soon to be ex-Consul General, Noel Kilkenny told of his role in interpreting "Ulysses" for a Chinese translation long ago. Actors including Conor MacNeill (currently on Broadway in the “The Cripple of Inishmaan”), Sean Mahon (who starred on Broadway in “The Seafarer” and “The 39 Steps” and is featured in the film "Philomena"), Jo Kinsella (“For Love,” and the Irish Rep’s “Dancing at Lughnasa”) performed their Joycean catechisms with the joy befitting the day. Here's to the second annual Origin Bloomsday! A resounding chorus of what was dubbed "Origin's First Bloom, at Bloom's Tavern, of course" rang out at the festivities.
Learn more about the Origin Theatre Company by going to their website, http://origintheatre.org/. Bloom's Tavern is located at 208 East 58th Street, and on the web at www.bloomsnyc.com.
Patti Murin and Bryce Ryness
as Joey Storms in "Fly By Night." Photo by Joan Marcus
Henry Stram and Allison Case as
Miriam in a scene from "Fly By Night," at Playwrights Horizons.
Photo by Joan Marcus.
Adam Chanler-Berat as Harold,
Patti Murin as Daphne in "Fly By Night." Photo by
Joan Marcus.
Patti Murin and Allison Case
in a scene from "Fly By Night."
Photo by Joan Marcus
Like the stars in big city skies, things are sometmes lost when the bright lights are found or turned on.
In "Fly By Night," a musical at Playwrights Horizons through June 29th, two sisters from South Dakota find themselves under the bright lights of New York City.
It's almost always better to be shown than told, so the early appearance of the Narrator (Henry Stram) in "Fly By Night" was cause for pause. No need to have worried. "Fly By Night" is for the most part a touchingly funny and lovely musical play. The ending (partial spoiler alert) is however a downer.
Miriam (Allison Case) reluctantly accompanies her sister Daphne (Patti Murin) in her quest for stardom. In New York City, Daphne meets Harold (Adam Chanler-Berat,) a sandwich maker with a guitar. Daphne also meets Joey Storms (Bryce Ryness,) a playwright determined to make her his muse. The triangle is squared off when Miriam meets Harold.
The story, conceived by Kim Rosenstock,who wrote it in collaboration with Will Connolly and Michael Mitnick, is part boy meets grils, and part "My Sister Eileen."
"Fly By Night" treads delicately over serious even sad themes. These include ambition, or the lack of it, achievement, and acceptance.
Oddly since this is a musical, the music goes unbilled "Fly By Night." We note that co-author Will Connolly is a musician and make the leap that he should be creditied with the music. The musical director, conductor and on-stage keyboardist is Vadim Feichtner, who leads Foe Destroyer (the band) with Chris McQueen on electric guitar, Daniel Garcia on bass guitar and keyboard, and Cade Sadler on drums and acoustic guitar.
Adam Chanler-Berat's goofy charm makes his feckless Harold alluring. As Miriam, Allison Case is perfectly fidgety and uncertain, while her voice soars. Standing out is tough when the whole cast shines as it does here, but Bryce Ryness is wonderful as Joey Storms, the writer with too much to say. The veteran Michael McCormick, playing Harold's boss Crabbie, gets a chance to strut his stuff in "Fly By Night" as well. There are a few too many eleven o'clock numbers, but thankfully Mr. McClam (Peter Friedman) gets his in and it's a doozy.
So often, too many authors spoil the plot, but here three seems a good balance. "Fly By Night" is a musical about fate and the stars that, like its stars, is very appealing.
Visit Playwrights Horizons to learn more about "Fly By Night," and to check for tickets.
(L-R) Jefferson Mays as Henry D'Ysquith, Jennifer Smith, and Bryce Pinkham as Monty Navarro in a scene from 2014's Tony winning Best Musical "A Gentleman's Guide to Love and Murder" at the Walter Kerr Theater.
Photo credit: Joan Marcus.
The 2014 Tony Awards show walks away with a BIG Best! Imaginative, creative, entertaining--this was a Tony telecast that reflects the best of the theater it is honoring.
The June 8th broadcast of the 68th Tony Award presentation showcased future Broadway, and shows not in contention like "Cabaret" and a song from the 10th anniversary of "Wicked."
Hugh Jackman's skills and charm were so effervescently on display at the ceremonies. He sings, he dances, he patters, he flirts, he raps, Hugh Jackman is really a superhero. We are grateful that while he kicks butt as Wolverine, his heart belongs to Broadway, and on June 8th, he gave it full-out.
The deserving Jessie Mueller won as Best Actress in a musical for her portrayal of Carole King in "Beuatiful..." and had a chance to sing with King at the Tonys! I did not see this award coming, not because Jessie Mueller is not terrific, but because I was self-bamboozled into believing that "If/Then" would not be left out to dry. My prediction for a win for Idina Menzel did not come to pass, and I was also wrong about "Act One" getting the Best Play win.
"If/Then," despite Menzel's fans, will probably not survive their complete lack of Tony cred. "Act One" has announced it's final week closing on June 15th, despite the set designer Beowulf Boritt's 2014 Tony Award for Best Scenic Design of a Play.
During the broadcast, "Bullets Over Broadway," which also had no wins, and was not nominated in the Best Musical category, and "Rocky" (ditto) each had their shining moments showing off their best stuff on the big Radio City Music Hall stage. "If/Then" depended on a solo from Idina Menzel to pitch their show, and I'm afraid that wasn't compelling enough to give it the oomph it needs to keep on chugging on the Great White Way, though they are still selling through October 12th.
"A Gentleman's Guide to Love and Murder"-- no surprise there with 10 nominations-- got the big prize: It is officially the Best Musical of 2014 with "Hedwig and the Angry Inch" getting Best for Revival of a Musical.
Neil Patrick Harris, amazing as always, won as Best Actor in a Musical.
Also unsurprising was Bryan Cranston's win for Best Actor in a Play for his performance as LBJ in Robert Schenkkan's "All The Way," which edged out the aforementioned "Act One" as Best Play of 2014.
Tennessee Williams' "The Glass Menagerie" still has not won a Tony, and the Best Play Revival went to "A Raisin in the Sun." Sophie Okonedo, playing Ruth Younger in the revival, won as Best Featured Actress in a play, an award that Audra McDonald got in the 2004 revival. McDonald won her 6th Tony on June 8th for embodying Billie Holliday in "Lady Day at Emerson's Bar & Grill."
Tony Shalhoub as Moss Hart, Andrea Martin as Aunt Kate and Santino Fontana as Moss Hart in LCT's "Act One," adapted by James Lapine from the memoir by Moss Hart. Photo by Joan Marcus.
Each of us is the hero of our own story. In "Act One," Moss Hart may have mythologized his ascent in the theater. Cut him some slack, his memoir has been an inspiration to generations of aspiring theater-folk. James Lapine, who also directs, has turned Hart's book into a thoroughly theatrical event.
"Act One," at Lincoln Center's Vivian Beaumont Theater through June 15th, everything as it should be. From the brilliant multi-layered set by Beowulf Boritt to the superb ensemble and smart direction, "Act One" sings with aspiration and
success.
Tony Shalhoub as George S. Kaufman and Santino Fontana as Moss Hart in a scene from "Act One." Photo by Joan Marcus
As James Lapine's "Act One" opens, Moss Hart (Tony Shalhoub) looks back on his life and career. His Aunt Kate (Andrea Martin) comes home from the theater and argues with Moss's father, Barnett (Shalhoub again) over money, while Moss's mother Lillie (Mimi Lieber) placates their borders. Aunt Kate and young Moss (Matthew Schechter, who later also plays Moss's younger brother Bernie) hatch a plan for Moss to skip school and join her at Thursday matinees. Schooling is a moot issue, since by the time Moss is sixteen, he is apprenticed to a furrier, a job he hates. Instead Moss (now played by Santiino Fontana) makes his own way to Broadway and the work for which he yearns. clerking for theatrical booking agent Augustus Pitou (Will LeBow.)
Chuck Cooper as Max Siegel (one of several roles he undertakes) and Bob Stillman as Sam Harris (he also plays other parts) and Company in a scene from "Act One." Photo by Joan Marcus.
Hart's first play, written in 1925, when Hart was just 21, to help fill Pitou's road circuit, "The Beloved Bandit" flopped in Chicago. In the meantime, Hart was directing small theater companies all over the New York area, from the Borscht Belt to New Jersey. By 1930, "Once In A Lifetime," co-written with George S. Kaufman (Shalhoub), and Hart's first theatrical success, opened on Broadway, after many fits and starts out of town. Hart and Kaufman would continue to work together on many a show after this original collaboration.
Andrea Martin-- like Tony Shalhoub, who is a nominee as Best Leading Actor in a Play for his work here-- adeptly handles three parts. She is Aunt Kate, eccentric theater producer Frieda Fishbein, and Kaufman's wife Beatrice. Shalhoub and Martin each give distinct and nuanced lives to each of their characters. In this cast, you risk looking like a slouch if you only have one role to play. Santino Fontana does just that, and he's outstanding as Hart at his youthful prime.
"Act One" is a perfectly beautiful production.
To learn more about "Act One," please visit www.lct.org.
Simon Green in "Simon Green: So, This Then Is Life," part of Brits Off Broadway at 59E59 Theaters.
Photo by Carol Rosegg
Simon Green in "Simon Green: So, This Then Is Life," part of
Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg
A performer with a middling voice and a fair amount of charisma, Simon Green offers his view of life at that tipping point of middle age. Pushing onto 57 seems to have made Mr. Green wax philosophical.
His "Simon Green: So, This Then Is Life," in a US premiere at 59E59 Theaters through June 1, is a metaphysical cabaret, to piano accompaniment by Simon Green's long time musical director, David Shrubsole. Mr. Shrubsole, co-creator with Simon Green for the program, has also provided the musical arrangements to songs by a wide range of composers from Noel Coward to Stephen Sondheim.
For more information about "Simon Green: So, This Then Is Life," please visit 59e59.org.
Martin Miller in "The Lovesong Of Alfred J. Hitchcock," part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg.
Alma Reville had a lot to complain about it would seem. "Hitchcok," the 2012 film starring Anthony Hopkins and Helen Mirren made it abundantly clear that he was obsessed with his leading ladies, and gruffly inattentive to his wife.
"The Lovesong of Alfred J. Hitchcock," David Rudkin's radio play adapted by him for the stage, at 59E59 Theaters through May 25th, covers this ground anew. But, alas, despite the clever title, not afresh.
Roberta Kerr and Martin Miller in "The Lovesong Of Alfred J. Hitchcock," part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg.
In fairness to David Rudkin, the 1993 radio play predates the film, and like it is based on Alma Reville's memoire of life with Hitch. Reville, Mrs. Hitchcok, has provided the ultimate spoiler to the cheerfully eerie "Good evening" with which Hitchcock greeted his audience for the long-running TV mystery shows he hosted. For more information, and tickets, please visit 59e59.org.
Henry James, who definitely had an apt way of putting things, called Washington, DC the "city of conversation."
Kristen Bush, Michael Simpson and Jan Maxwell in a scene from "The City of Conversation," a new play by Anthony Giardina, directed by Doug Hughes, at the Mitzi E. Newhouse Theater. Photo by Stephanie Berger.
Our nation's capital is the setting for Anthony Giardina's new drama about politics and those who practice it, "City of Conversation," at LCT's Mitzi E. Newhouse Theater through June22nd. 29th.
John Aylward, Kristen Bush, Kevin O'Rourke and Jan Maxwell in a scene from "The City of Conversation," a new play by Anthony Giardina, directed by Doug Hughes, at the Mitzi E. Newhouse Theater. Photo by Stephanie Berger.
Actually "City of Conversation" is set in the Georgetown home of one of Washington's movers, Hester Ferris (Jan Maxwell), a hostess with great liberal influence. Enter a young woman, Anna Fitzgerald (Kristen Bush) on the arm of Hester's son Colin's (Michael Simpson). She is, as Hester predicts, the rival she thinks she can easily vanquish. "I've seen this movie," Hester tells Anna, referring to All About Eve.
Luke Niehaus and Jan Maxwell in a scene from "The City of Conversation," a new play by Anthony Giardina, directed by Doug Hughes, at the Mitzi E. Newhouse Theater. Photo by Stephanie Berger.
Anna is in fact the new Washington. She is a Reagan Republican, and, along with Colin, plans to take America back for all the "real Americans" who have been ill-served by the regulations and legislation Democrats have enacted over the years. As political drams go this one, playing itself out from 1979 to 2009, is tightly plotted and fundamentally domestic.
Michael Simpson, Phillip James Brannon and Beth Dixon in a scene from "The City of Conversation," a new play by Anthony Giardina, directed by Doug Hughes, at the Mitzi E. Newhouse Theater. Photo by Stephanie Berger.
Hester's live-in lover, Senator Chandler Harris (Kevin O'Rourke) is at her side. Her sister Jean Swift (Beth Dixon) has her back. Colin and Anna come upon the scene as interlopers in the genteel world of Washington's political wrangling. Rounding out the cast are John Aylward as Senator George Mallonee (R from Kentucky) and Barbara Garrick as his wife Carolyn, Luke Niehaus as Anna and Colin's six year old son. The ensemble under Doug Hughes' direction is excellent with Phillip James Brannon as Donald Logan especially charming; Beth Dixon as the self-effacing Jean gives a very gratifying performance as well. Make no mistake, every member of the cast plays his and her part in giving "City of Conversaton" its sparkle. Jan Maxwell is, as always, superb. (Full disclosure, Maxwell is one of this reviewer's personal favorites on any stage.) Her Hester is astute and composed, but she is not prepared for Anna's ruthlessness. John Lee Beatty's elaborate set deserves a mention, working on a small stage to big effect. The fine costumes designed by Catherine Zuber contribute to the panache of "City of Conversation." For more information on "City of Conversation," please visit Lincoln Center Theater's site.
Trudi Jackson, Daisy Hughes, Alan Cox, and Mark Rice-Oxley in "Playing With Grown Ups," part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg.
"I am woman, hear me roar," the radio blares. In the background a baby wails in distress as only babies can.
In Hannah Patterson's drama, "Playing With Grown Ups." at 59E59 Theaters through May 18th, the choices -- have a family, enjoy a career-- seem to be constricting. For Joanna (Trudi Jackson), at any rate, the ones she's made are stifling. Her husband, Robert (Mark Rice-Oxley), pays lip service about wanting to be a care-at-home dad, while he's wrapped up in his work. Robert has to worry about the possibility that as a film professor he may soon be redundant.
Daisy Hughes and Trudi Jackson in "Playing With Grown Ups," part of Brits Off Broadway at 59E59 Theaters.
Photo by Carol Rosegg.
Even Jake (Alan Cox), Robert's head of department and Joanna's ex, is on edge. Jake's seventeen year old pick up, Stella (Daisy Hughes) is the only one wise beyond her years, as she calmly observes the "grown ups" in mid life crisis.
Mark Rice-Oxley and Trudi Jackson in "Playing With Grown Ups," part of Brits Off Broadway at 59E59 Theaters.
Photo by Carol Rosegg.
Stella's role as confidante, muse, or siren is a bit tenuous, although Daisy Hughes is extremely winsome. Just as Robert and Joanna have the off-stage Lily crying over the baby monitor, Stella's oft-quoted mother bolsters her character. When Joanna asks if she's read Sylvia Plath, Stella says, "Please. My mum's a psychotherapist. I grew up on Sylvia Plath."
Daisy Hughes and Alan Cox in "Playing With Grown Ups," part of Brits Off Broadway at 59E59 Theaters.
Photo by Carol Rosegg.
Somewhere midway through, "Playing With Grown Ups" loses some steam, whether because of the script or the direction by Hannah Eidinow is unclear. It soon picks up plenty of emotion and energy as it draws to its inevitable conclusion.
The acting is excellent. Not a misstep from any of them: Trudi Jackson's steady meltdown; Mark Rice-Oxley's cluelessness; Alan Cox's detached bonhomie, and Daisy Hughes' sweet knowing innocence are all spot on.
As a sample of the proto-feminism in "Playing With Grown Ups," let us submit this favorite dialog exchange: (Stella says) "There's so much going on with women at the same time....." (Joanna inserts) "One seamless, endless state of doing." (Stella) "Men make a song and dance of doing one thing. Really loudly...."
To learn more about "Playing With Grown Ups," please visit www.59e59.org.
Mary Martin immortalized the boy who wouldn't grow up when her Peter Pan flew across television screens in a televised broadcast in 1955, 1956 and 1960 of her Broadway hit.
Emily Skinner, Lynne Halliday, and Cameron Adams in the York Theatre Company world premiere production of the new musical revue, Inventing Mary Martin, conceived, written and directed by Stephen Cole, with music supervision and arrangements by David Krane, co-direction and choreography by Bob Richard and music direction by Lawrence Goldberg. The cast also features Jason Graae with Bob Renino on bass and Perry Cavari on drums. Now in performance through May 25 at York Theatre Company’s home at Saint Peters. Photo credit: Carol Rosegg.
"Inventing Mary Martin," a world premiere conceived, written and directed by Stephen Cole, is a musical revue about the titular star's career. The York Theatre production, through May 25th also touches lightly on her life. Mary Martin went from a small Texas town to Hollywood and on to Broadway and London stages. She was the toast of the town in any number of hits.
Cameron Adams and Jason Graae in the York Theatre Company world premiere production of the new musical revue, Inventing Mary Martin, conceived, written and directed by Stephen Cole, with music supervision and arrangements by David Krane, co-direction and choreography by Bob Richard and music direction by Lawrence Goldberg. The cast also features Lynne Halliday and Emily Skinner with Bob Renino on bass and Perry Cavari on drums. Now in performance through May 25 at York Theatre Company’s home at Saint Peters. Photo credit: Carol Rosegg.
Of course, she also had her share of misses, most famously in passing on the musical which came to be named "Oklahoma."
Emily Skinner, Lynne Halliday, Cameron Adams and Jason Graae in the York Theatre Company world premiere production of the new musical revue, Inventing Mary Martin, conceived, written and directed by Stephen Cole, with music supervision and arrangements by David Krane, co-direction and choreography by Bob Richard and music direction by Lawrence Goldberg. Now in performance through May 25 at York Theatre Company’s home at Saint Peters. Photo credit: Carol Rosegg.
The talented cast recreating some of the songs along Mary Martin's path include Cameron Adams, who sings and taps to perfection, Jason Graae as host and narrator, Lynne Halliday, and Emily Skinner. The latter is tasked with singing "Swatting the fly," the big number from the show Martin, and her husband Richard Halliday, chose for her instead of Rodgers and Hammerstein's iconic show.
Emily Skinner in the York Theatre Company world premiere production of the new musical revue, Inventing Mary Martin, conceived, written and directed by Stephen Cole, with music supervision and arrangements by David Krane, co-direction and choreography by Bob Richard and music direction by Lawrence Goldberg. The cast also features Cameron Adams, Jason Graae, and Lynne Halliday with Bob Renino on bass and Perry Cavari on drums. Now in performance through May 25 at York Theatre Company’s home at Saint Peters. Photo credit: Carol Rosegg.
The musical arrangements, by David Krane, of classic tunes by the likes of Noel Coward, Cole Porter, and so forth, are delivered by an off-stage trio, led by Lawrence Goldberg on the piano, with Perry Cavari on percussion and Bob Renino on bass.
"Inventing Mary Martin" is a tuneful and well-sung remembrance of the much-awarded star that informs rather than engages.
For more information about "Inventing Mary Martin," and the York Theatre Company, please visit http://www.yorktheatre.org.
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.
Except in Will Eno's new drama, "The Realistic Joneses," at the Lyceum Theatre through July 6th, where it is. "The Realistic Joneses," isthe playwright's Broadway debut, and it features a starry cast.
This very funny drama has a very funky plot. The Joneses, John (Michael C. Hall) and Pony (Marisa Tomei) have moved in down the block from Jennifer (Toni Collette) and Bob (Tracy Letts) Jones. The new neighborrs drop in on a beautiful quiet night. Over the course of several encounters around town, it is clear that John is suffering from the same uncommon genetic disease that Bob has.
Michael C. Hall and Marisa Tomei as the new neighbors, John and Pony.
Photo by Joan Marcus.
If Eno has a point, it is buried in the diurnal rhythms of his play. Yes, despite its outlandishness, life in "The Realistic Joneses" seems very normal. A thin-- more like a whisper of a-- story doesn't suggest much but an opportunity for crackling good talk and a slice of real life ordinariness.
Toni Collette, Michael C. Hall, and Tracy Letts as Jennifer,
John and Bob. Photo by Joan Marcus.
All the revelatons in "The Realistic Joneses" come with terrifically snappy dialogue, delivered with a suave ease by an expert cast. Sam Gold's direction keeps the scenes moving, and the sparkling wit flowing. Michael C. Hall's quip-cracking John is expecially wonderful-- maybe because he has all the best lines. Tracy Letts, the 2013 Tony Award recipient for Best Actor, is also especillay wry in his deliveries.The women of the quartet in "The Realistic Joneses" are natural and comfortable in the strange circumstances of the play. "The Realistic Joneses" is a most entertaining and amusing tragedy you are ever likely to see.
Is there anything sadder than watching a great talent squander her gifts?
The image of Billie Holiday near her end staggering around a small bar in Philidelphia, distrubed playwright Laine Robertson so that "writing Lady Day at Emerson's Bar & Grill was an attempt to rid myself of the ghost."
It may have freed Ms. Robertson, but the ghost lives on at Circle in the Square where Lady Day at Emerson's Bar & Grill plays through August 10th.
There is no joy in watching Billie Holliday (Audra McDonald) stumble around the stage.
Audra McDonald is "Lady Day." Photo by Evgenia Eliseeva
By March of 1959 when she performed at Emerson's Bar & Grill in Philadelphia, Billie Holiday had lost a good deal to her addictions. A felony conviction for possession of heroine cost her her cabaret license so she could no longer perform at clubs in New York. She spent nearly a year in a West Virginia penitentiary.
In 1948, after her release from prison, friends had arranged a Carnegie Hall appearance for her; although Lady Day was uncomfortable in white-run venues and toney spots, she sold out Carnegie Hall and gave it her best, singing 32 standards and her own repertoire, including her 1930's hit "Strange Fruit."
The pleasure in this play is watching as Audra McDonald turns herself into the embittered, nearly beaten Lady Day. Audra McDonald is nowhere to be found or seen in this performance. Her acting is a totally self-effacing feat; she disappears into the character. Abused, self-loathing and completely self-destructive, Billie Holiday still did not consider singing the blues. "I'm a jazz singer," Lady Day says. "Lady Day at Emerson's Bar & Grill" is a one woman show with support from Shelton Becton who plays Jimmy Powers, Lady's piano player and apologist. Clayton Craddock is on drums with George Farmer playing the bass in the three piece band backing Billie Holiday.
When I was last in London a gazillion years ago, I was thrilled to have the chance to go to a Thursday matinee, as well as the usual Wednesday, Saturday and Sunday ones. One more outing in a week full of theater adventures. I always thought it was a great idea to spread out the matinees so binge goers, and out- of-towners eager to see whatever was on on the Great White Way could do more with their week in New York.
Three shows now offering you the Thursday option are "Rodgers + Hammerstein's Cinderella,"''Mamma Mia!" and "The Phantom of the Opera." ''Matilda the Musical" (reviewed with the current cast in these pages recently) may give the idea a try this summer.
"Cinderella" now features the enormously likeable Fran Drescher as the wicked stepmother. The infectious gaiety that is "Mamma Mia," which is also playing Vegas as it happens, has recently moved to the Broadhurst Theatre on W44th Street. "The Phantom of the Opera" is celebrating more than 25 years at The Majestic.
"Phantom," "Mamma Mia!," "Rock Of Ages," and "Chicago" have long also had Monday night curtains, another great way to extend the Broadway week.
Charlotte D'Amboise as Roxie Hart with Ryan Worsing and
Michael Cusumano in a production of "Chicago." Photo by Jeremy Daniel
This show does not have a Thursday matinee, or a Monday night, so you'll have to stick to one of the more traditional days to see "Bullets Over Broadway" which, by the way, hits the bull's eye. "Bullets...," based on the Woody Allen film from 1995, and written by Mr. Allen and Douglas McGrath (who also penned "Beautiful...") starts off with a bang-- in case you're worried that you are in the wrong theater, a machine gun sprays the play's title on the inside curtain-- and doesn't let up 'til the final curtain drops. The musical's style rings in a little like "The Producers," which Susan Stroman also famously directed and choreographed. Stroman's signature dancing in unconventional locales has a tap chorus hoofing fiercely on top of the train headed for out-of-town tryouts.
In an impressive cast, Nick Cordero is a revelation as the soulful thug Cheech. Marin Mazzie gives her all as an egocentric star on the wane. This is a Tony-worthy performance.
"Bullets" does something that Broadway hasn't done since the beginning of the last century, using standards and in a way that generally is not done-- the tunes, by Cole Porter and others-- move the story along and further the plot.
The "jukebox musical" is no longer a term of endearment. So it's a good thing that the jukebox musical has found its way to the other side.
It doesn't matter that few would have a bigger jukebox than Carole King because "Beautiful-The Carole King Musical," at The Stephen Sondheim Theatre, is actually a "non-jukebox" musical. "Beautiful" is a story, almost a drama with a track, that covers Carole King's journey from hitmaker to hit singer-songwriter. It moves from 1650 Broadway ("not the Brill Building") to the "Tapestry" album and her appearance at the piano at Carnegie Hall. It is biography so it sticks to a timeline. The songs don't move the story along so much as they are the story.
Jeb Brown as Don Kirshner, Jake Epstein as Gerry Goffin,
Jessie Mueller as Carole King, Jarrod Spector as Barry Mann,
and Anika Larsen as Cynthia Weil in "Beautiful - The Carole King Musical" on Broadway at
the Stephen Sondheim Theater (c)Joan Marcus
Carole King (Jessie Mueller) had her first chart topper in 1959, when, at 17 she and her husband, lyricist Gerry Goffin (Jake Epstein), gave The Shirelle's a huge hit in "Will You Love Me Tommorrow." From there the hits just kept coming, until one day, years later, Carole King began singing and playing her own music.
Rock and roll did not die, but as Gerry Goffin predicted, it changed under the influence of folk and split off into all kinds of pop and crackle from The Monkees to metal. For many practitioners in the medium, rock and roll went deeper and became more expressive than "The Locomoton" (another King-Goffin hit.)
Jessie Mueller as Carole King in "Beautiful - The Carole King Musical"
on Broadway at the Stephen Sondheim Theater (c)Joan Marcus
"Beautiful" thoroughly integrates the music into the plot. "Beautiful" doesn't take its legends too seriously. Jessie Mueller gets Carole King's inflections and phrasing, but not just in a mimicky way. It can't be easy to personify Carole King when so mnay of us have known her so well and for so long. Jessie Mueller pulls this off as well. King has been a star for most of my life and much of hers, but she is not a glamourous presence. Mueller captures this too--, the simple girl whose genius is undisputed so that even she cannot deny it.
The Shirelles (L-R: Ashley Blanchet, Rashidra Scott, Alysha Deslorieux, and Carly Hughes) in "Beautiful - The Carole King Musical" on Broadway at the Stephen Sondheim Theater (c)Joan Marcus
The excellent work by Jeb Brown as Don Kirshner and Jake Epstein as Gerry Goffin back Mueller up. Also outstanding in a great ensemble, under Marc Bruni's fine direction, are Anika Larsen, charming as Cynthia Weil, and Jarrod Spector as Cynthia's writing partner, Barry Mann.
"Beautiful- The Carole King Musical" steps out of the jukebox genre to deliver a moving portrait of its eponymous heroine, and the times in which her art was forged.
In Terrence McNally's "Mothers and Sons," at the Golden Theatre, it is particularly difficult and the way forward is a slog.
It is more so for Katharine Gerard (Tyne Daly), the titular mother in this play, for whom the death of her son nearly twenty years ago remains a fresh wound. She shows up at Cal Porter's (Frederick Weller) door unbidden because he is her one connection to Andre. For Katharine, who is recently widowed, Andre was the only beacon of love in a bitter life.
Cal has not forgotten Andre but he has allowed himself some happiness. His sunnier present is with Will Ogden (Bobby Steggert) whose youth and disposition help them to make a home for their son Bud (Grayson Taylor). The Ogden-Porters are guppies, an affluent gay family, something that was not even thought of while Andre was alive.
Katharine did not expect this. She is a ramrod of indignation anger and vengeance. Andre's death was cataclysmic. There should be no moving on. Cal has picked up the pieces as Katharine could not.
As Katharine, Tyne Daly is at once brittle and ascerbic. Wheeler's mild-mannered Cal is the perfect foil for the hateful Katharine, whose grief is a heaviness that is only lifted in her very sweet and natural interactions with Bud.
Don't shy from "Mothers and Sons" because it is a genuinely sad and moving play. There is plenty of humor and wit to ease us along. The drama is well played by all the four principals, and well paced under Sheryl Kaller's able direction, and well worth your time.
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