Essay on Theater Criticism

Hi! This is an essay I wrote for other purposes that I thought might be interesting to post about being theater critic. It even mentions this blog.

Charles Kirsch

                THEATER CRITICISM: A CONSIDERATION

Theatrical reviews can take many forms. There was even an obituary notice for one opening night. Reviews have consisted of “ouch”, “what piffle”, or simply “no”, as theater scholar Peter Hay reveals in his book Theatrical Anecdotes. I fall under a slightly different category of critic. Kid critics are a group with a different reputation. Sometimes they’re ignored or restricted in certain ways. Bias is always a factor in critics’ reviews. Many times, we feel pressured into “liking” a show for any of several reasons. Actually, papers usually send another critic just for this reason. As you may know, critics have a reputation for being cruel. Many a time on my blog I have insulted a show. However, expressing an honest opinion can be interpreted as mean. Critics, however, are losing their prescience. Oklahoma got good reviews and was a hit. Ankles Aweigh was panned, or given a bad review, and flopped. Cats got panned and was a hit. Significant Other got good reviews and was a flop. I will include anecdotes and stories, also talk about being a kid critic, and their prescience and boundaries, and include information about what it means to be any kind of theater critic.

REPUTATION

Many theater critics are fearsome, and others in the business try to stay on their good side. After all, you do want your show to get good reviews. When I tell people I’m a critic, they often say something to the effect of “No! Don’t do it!” It’s not just me. Many critics have that happen to them. One way of sucking up sneakily is by flatteringly portraying critics. In the play It’s Only a Play, New York Times critic Frank Rich gives a brutal review that is said to be accurate. He is mean, but still accurate. Because of things like this, critics are careful of how they come off. On the other hand, people often despise critics, and think they are needlessly cruel and often “don’t get” a show. When I saw An American in Paris I subsequently realized I wasn’t grasping the concept. I then talked out the plot, listened to the music, and did research online in order to understand it better before reviewing it. Some shows like Cats have been misunderstood in the form of over-analysis, and sophisticated shows have been accused of being jumbled messes. Times critic Martin Gottfried said roughly that his predecessors didn’t “get” Follies. To be a fair critic, getting it is very important.

Kid critics have an entirely different reputation. People see them and think, “how cute”, not “I really respect their opinions.” A kid they mentally patronize, never taking our recommendations seriously. Why? A couple of reasons. One is that we are young, so we don’t know as much. Two is that the image of a kid makes the brain unable to listen as seriously. The only way to discourage this is by being totally serious, and then you will be thought of as pretentious. On the other side of that, people might think that kids good enough to be given a platform should be respected.

BIAS

As a critic, you never want to disappoint a friend when they are in a show. But if you honestly hate them, it presents you with a difficult decision. Friendship or integrity? I once had a friend who was in a Broadway show that I was reviewing. I felt I needed to mention her, even though she wasn’t my favorite. Critics will often try to avoid being faced with that situation. Reviewing Bernhardt/Hamlet, where I knew the set designer, I felt I should say all positive things. Other critics have been faced with this problem too. Critics Hedy Weiss, Ben Brantley, and others have been accused of larger personal biases. They have faced challenges of being racist, transphobic, and weight-obsessed. Critics must consider their reputation. When they show personal bias or racism, they must first ask themselves, “Why?”

Paid bias is also an issue that occasionally pops up. Can a critic be “encouraged” to revise their opinion with money? Producer David Merrick bribed one critic to give his show a bad review, so the people involved would keep trying. This is not the customary thing, though. Usually it’s the reverse. Sometimes actors and writers, too, will not exactly pay, but sucking up isn’t beyond them. Walter Kerr, a Times critic, thinks critical integrity is too high for this. “Let a… tiresome play… come along, and a reviewer’s going to censure… it, even if a surprise grand piano was hoisted into his apartment.” So apparently some critics are too good to give in to the lure of money. However, this is something a kid critic doesn’t have to worry about, but will if they continue with the job through adulthood.

CRUELTY

One thing you want to avoid being is too cruel. On my blog I usually pull few punches, but I don’t ever want to talk about a show with no redeeming qualities. I, as a kid critic, don’t want to seem like I’m being an adult simply by being acidic. Another reason is because people sometimes doubt pure hatred. Often people will assume you’re just trying to be controversial. If too much of this happens, people doubt your truthfulness and stop reading and considering your work. Another possible outcome is that actors will hate you, which isn’t fun for you or good for your standing. Always remember that excessive cruelty doesn’t benefit anyone. As Peter Filichia, critic emeritus for The Star Ledger said, “I’m rarely cruel. I like that we have a night to sleep on reviews before we write them- because even if we’re angry, a night’s sleep calms us down!” He doesn’t believe in cruelty, and won’t write a gut reaction review.

Retractions are the act of taking back an objectionable comment made in a review. It could be oral or written, but it’s essentially the same thing. When Michael Riedel kissed the hand of actress Bernadette Peters at popular theater hangout Sardi’s, it concluded a 15-year fight. Times critic Laura Collins-Hughes was attacked for her alleged fat-shaming of actress Alysha Umphress. Often critics will refuse to retract or not make physical comments in the first place. I would never call attention to someone’s physical or emotional traits. That’s what usually triggers a retraction. When that happens, you are ridiculed and scorned. This probably wouldn’t happen to a kid, though.

A DYING ART

Not as many people read reviews anymore. In the old days, people would read whatever was there. But today, the internet can help you be more selective about what you read. Another reason is because people can access any review site. For bloggers like myself, it’s hard to ensure that people will actually see your work. I mean, when you see a random blog, why would you read it? You could try to use social media, but the same question might apply. People are not getting read because, say, of the 5,000 critics, each person reads 10.

Also, people who read critics don’t always listen to them. People will read them for fun and then disregard them. This does not bode well. Reviews have been eclipsed by word-of-mouth. I mean, if your best friend hates a show, you assume it’s bad and don’t buy a ticket. When people hear kids say, “It was amazing!” and their best friend say “I hated it”, who are they going to listen to? Also, a new and dangerous attitude has arisen. “How can I trust one person?” This contradicts the basic principles of reviews. There must be a mutual trust between a critic and a reader. Another threat is advertising. Shows use subways, taxis, billboards, buses, websites, food stands, and pretty much everywhere else they can think of to put up a poster for their show. A tourist might not know that reviews even exist and buy a ticket for the first show they see. Reviews are hard to get to, but visual propaganda is unavoidable. Sometimes critical quotes are used in ads. Great! But no one sees the pans. One “Amazing!” in a crowd of “Horrible”is the only one really spread. So are critics important? Not as much.

CONCLUSION

In conclusion, critics are both feared and respected. Kids don’t get the same kind of attention or reaction. It is disappointing, but it is a fact of life. You might forfeit ethics and integrity for a friend, money, or employment.  For instance, after interviewing performers at Miscast, a gala featuring Broadway stars, I thought I couldn’t be negative. You can’t always be as negative as you want, but don’t go to the other end of the spectrum. No one reads or listens to critics as much anymore. Their importance is fading. As noted playwright Edward Albee said, “If Attila the Hun were alive today, he’d be a drama critic.”

Thanks for reading!

Summer Theater Roundup

A SUMMER OF THEATER

This is a paragraph or two on some of the shows I have seen this summer.

ANASTASIA

i have seen this show 4 times. Ahrens’ and Flaherty’s score is pleasant to hear sometimes, and sometimes deeply moving. Their lyrics are always clever, and most of their characters are endearing. Max Von Essen, who plays Gleb, the villain, one of my favorite performers, manages to equal the brilliance of Ramin Karimloo, who played it originally. They were both downright scary. The other replacements do not shine quite as bright. The book, by Terrence McNally, is not very clever, but the songs more than make up for it. For those of you who want to “come out of the theater humming”, you definitely will in this show. As I can verify by having met some of them 4 times, the actors in this show are as nice as they are talented. 

CHITA RIVERA: LIVE IN CONCERT

What more extraordinary than to see a true legend of Broadway onstage. She did some of her hits, like “All That Jazz”, and some of her flops, like “Camille, Collette, Fifi”, from Seventh Heaven, which was my personal favorite, and also a rather bland song from Jacques Brel… that the lighting did something to improve. The stage at the 92nd Street Y is usually not one for effects, but I suppose for her they made an exception. She did two songs from The Visit, which I found somewhat bland, though I’m sure her enthusiasts didn’t. I was pleased to hear “Chief Cook and Bottle Washer” from The Rink, as were many there. She didn’t tell many anecdotes, she did say in her interviews that “she never gives dirt”, and while she payed tribute to several friends, it would have been nice to hear more about her experiences in those shows. She can also still dance amazingly, despite a car accident and being in her 80s, and she even has a concert date at 54 Below booked for New Year’s next year! So let’s look forward to seeing more of Chita!
MEAN GIRLS

Mean Girls is a show with jokes and pop songs that are funny and catchy, but it’s just for fun, and it’s not supposed to be analyzed as a great work of art. Tina Fey manages to write funny dialogue, Nell Benjamin witty if disingenuous lyrics, and Jeff Richmond can’t write music. The performers in this show are wasted on it. One of my personal favorites was Erika Henningsen, who shines, and although she has been criticized for seeming fake, I think she seems very real. She gets to shine in her song "It Roars", and although she's not quite as good as she is on the cast album, some of the projections make this more effective than it would be otherwise. (e.g., a fake "plane" from Africa to America) The part where she feels awkward is represented convincingly as a dance metaphor. She shows the journey to power very well, and makes you sympathize with Cady, even when she becomes "a clone" of Regina. "Stupid With Love", not containing the best lyrics, is a fun song, if a bit bland. Here you can see a bit what is meant by her "thin emotion", but really, what opportunities does that song give? "More is Better", a totally forgettable song, almost the opposite of an "I want" song, more of an "I got" song, is about how now that she's popular she is better, hence the title. Taylor Louderman, as Regina, is funny and appropriately domineering, without being overdone, and much better than her movie counterpart. She is given appropriate material, and manages to milk every drop out of it. Ashley Park, who plays Gretchen, is somewhat annoying though also endearing, especially in “What’s Wrong With Me?” Kate Rockwell, as Karen, is awful. She’s annoying and tacky. Grey Henson, as Damian, is so good in his number “Stop”, that it had me uncontrollably laughing. Henson manages to be funny without stooping to being tacky/insultingly stereotypical. Barrett Wilbert Weed, as Janis, is not very good, and she always seems angry, not a good quality in a performer. The supporting cast is fairly good, but nothing worth mentioning. I recommend this show to anyone out for a good time, however people who like a serious show that gives them something to think about, this is not for you.
SPONGEBOB

I’m going to have to keep this one brief, or it will turn into a brutal tirade on all the show’s faults. It distresses me that this is some people’s first Broadway show, because this is not what Broadway is like. Spongebob is a completely mindless and annoying show that gets on your nerves. I don’t think even a young child would enjoy it because there’s just nothing there. When you peel away the great spectacle, what’s there but treacly nothingness? Gavin Lee, as Squidward, is one exception to that rule. He is funny, and has references to musicals. Other than that, the cast is as mediocre as the material.

FIDDLER ON THE ROOF IN YIDDISH

This is a total reimagining of Fiddler, different from the 2016 revival in every way. It’s more serious, especially in a pogrom scene, you hear more graphic screams and sirens. It takes on a more serious tone, which the cast helps. Steven Skybell, as Tevye, gives an incredibly moving performance. The young performers, except for Motel, are nothing special. Motel played his role very well, though not better than Adam Kantor, one of the best young actors now. Jackie Hoffman, as Yente, doesn’t chew up the scenery, and there are times when we even wish we would. The production is extremely realistic and moving, and I do recommend it to everyone. 

Diary of a Mad Playwright Book Review

Diary of a Mad Playwright, by James Kirkwood, is an account of the show Legends, as told by a mad playwright. Though Terrence McNally says, in the introduction, that it is not good gossip, it is certainly something you can’t hear anywhere else. He talks about the original choices, Harvey Fierstein and Betty Bloolips (a drag performer), and how he thought that was insane, though no more insane than its ended up being. He talks about the insane process to get Mary Martin, she being frustratingly noncommittal. Getting Carol Channing was more straight forward. He talks about Kevin Eggers, the impossible, self-righteous, and jerky producer, the typical producer, Ahmet Ertegun (“The Dread Turk”), and the ever-absent director, Clifford. The director went off to England immediately after it opened, causing the show to re-lapse. Kirkwood had to somewhat “stand in” as director. He once got so mad at Kevin Eggers that he asked his underworld friends how much it would be to “disappear” someone. Mary Martin had an odd sort of mental block where she could not remember a line. They tried everything, even hypnotism. At last, for the first half of the run, her lines and blocking were fed her through a monitor in her ear. They opened to outstanding reviews for the actresses, but for the playwright they pulled no punches. Something like this would continue to happen in every town on their tour. They kept making changes, like adding another scene for the late Gary Beach, wherein he imitates Channing. Channing objected to this, but it was kept in the show. Eggers and he often disagreed about when it was appropriate to cut, and Kirkwood, after screaming and pouting, usually got his way. While both the ladies loved Kirkwood, they weren’t always so nice to each other. While, being co-stars, they would support each other, they did not become best friends. Channing disapproved of Mary not knowing her lines, and Mary of Channing audibly correcting her on stage. They realized they needed help, their director was in London, and no one else was taking power, so whoever was left sort of banded together, like survivors of a war. They all became directors, and it resulted in too many cooks in one kitchen. Eggers wanted to cut Martin’s mastectomy speech, the only serious moment in this comedy. Martin, Channing, and Kirkwood were against it. In fact, after Eggers suggested it, Martin announced she would no longer continue to play the show on Broadway. Even after an infuriated letter from Kirkwood, calling them ”two of the dumbest white ladies he’d ever met”, they still wouldn’t go on. They had several names in the pot, Debbie Reynolds, Elaine Stritch, Shirley MacLaine, the list goes on and on. However, none ever materialized. Kirkwood said his goodbyes to the cast, Annie-Joe Edwards, the first maid, who miraculously did a split, but occasionally acted sullen, Roxy Rokker, current maid, who was hired after long discussion, Gary Beach, crooked producer, who always got his laughs, Eric Riley, stripper, who everyone loved- he was a breath of fresh air, and Trish Garland, the choreographer who’s work was long and hard. He never got to say goodbye to the ladies, saying that at the same time there was “too much to say and not enough”. He writes that they may do another revival. In fact, they did, in about 2009, also a just-touring production. Will it ever see the light of Broadway? Who knows? Kirkwood has pictures in his book before each chapter, showing him going gradually insane. First has him in a straitjacket, next has him showing a book to a statue, next has him evilly grinning in a straitjacket, and finally, his Christmas card, him with the two ladies. He told Mike Nichols he was “thinking about doing the same thing this year, but with Xs grease penciled over their faces”. This book is not reading the play, it’s being James Kirkwood. He lets you get into his experience rather than just telling you about it. As McNally correctly states in his introduction, he allows you to feel for the characters, and you along with him are sad when the show does;t come to Ne work, frustrated with everyone in the cast and crew, and want it to succeed. It’s a book that’s important to read for every theater fan.

Bernhardt/Hamlet Review

I was lucky enough to see the invited dress rehearsal last night of Bernhardt/Hamlet, so I thought I would review it for you. The show is about Sarah Bernhardt making the choice to play Hamlet. Within that basic premise are love affairs, critical doubts, and family matters. The play, while Bernhardt knows it is a gamble, is supposed to be a money maker for her, as she is near bankruptcy. Janet McTeer is a force of nature, a person hard to describe. She so enraptures the audience that they never think about anything else. While it’s easy to think in the first scene that McTeer has genuinely gone up on her lines, that is, in fact, part of the script. Out pops actor Dylan Baker, another brilliant performer who’s talents we get to see in full late in the show. We meet the company of Hamlet. They consist of a typical ingenue, Ophelia, two “Brush Up Your Shakespeare” style character actors, and another man whose purpose is never quite clear. Next we meet Edmund Rostand and see his love for Bernhardt. He is married, but that does not stop them from having much sexual contact. Next we see Rostand with the amazing Paxton Whitehead, playing a theater critic. They discuss their doubts and you can see that Rostand gets immediately tense about any criticism of Bernhardt. Throughout the play, you will hear several lines suggesting that their relationship is not merely that of an actor/playwright, but although we know those rumors are true, both parties always deny it. Whitehead believes the decision is vulgar, which makes Rostand, too, nervous. Subsequent scenes show the actual Hamlet, and Bernhardt’s frustration in not quite being able to grasp the role. She knows she is breaking the rules, and goes even further with a female-female sex scene and cutting lines. As a parallel, we see Rostand’s frustration, not being able to get her out of his mind or heart. At the same time, artist Alphonse Mucha has been commissioned to make a poster for the show, but he too, is having trouble designing it, saying he can’t quite capture the look in her eyes. His drafts receive increasingly horrified “Oh, My God!”’s from both Rostand and Bernhardt. At the act’s end, Bernhardt somewhat seduces Rostand into attempting to rewrite Hamlet for her. There is a scene from Hamlet which, as all these scenes, is not well transitioned into, and while it is a pleasure to watch McTeer play Hamlet, Rebeck (playwright) should make up her mind which half of the title she wants to emphasize. Rostand and Mucha meet and express how hard it is to work on their respective assignments, and both threaten to abandon the project. Though after Rostand expresses that idea, Mucha inquires “Then why did you say yes?” Rostand then counters,“Have you ever tried to say no to Sarah Bernhardt?” There is a dinner party, in which Bernhardt is forced to confront her doubt(er)s. However, she quickly eliminates them all. Also, getting an opportunity to see Baker playing drunk is one of the funniest moments in the entire show. He spews sarcastic and nonsensical comments, all of which are irreverent and very funny. Then her son enters, ruining the party by insinuating an extramarital affair with Rostand.Then, once the guests leave, they have a heart-to-heart chat. Neither, it seems, is too good at handling money, as both are near broke. The son forbids her to love a young, married man. But she cannot help but succumb to nature. As the scene ends, he pleads “Mother, just think, for once.” Then, Rosamund enters, played by a convincing and powerful actress, Ito Aghayere. Rosamund is Rostand’s actual wife, who is not coming, surprisingly, to accuse her of having an affair, but to force her to make him stop rewriting Hamlet, and continue work on his play, saying “it’s about you”. She then insist that Bernhardt read it. She does, she loves it, and then she has Rostand come, while she and Baker read from the script. This humble play, his “pet project” is Cyrano De Bergerac, one of the most highly regarded plays of all time. She then goes on a frustrated tirade about how the character of Roxanne is too one-dimensional for “the divine Sarah”. She and Rostand get into a fight, which was probably for the worse in her career. We don’t know if they’ll ever reconcile. However, we get to see a scene from that play, and it, especially Baker, is very enjoyable. Then we see Bernhardt and her son, staging a fake sword fight. Then, as one of the most anticlimactic endings I’ve ever seen, a movie of her actually playing Hamlet shows. But, if one didn’t already know, it would not be clear that it was her, plus it leaves the audience completely unsatisfied. The way this play is written makes you feel as if you are Bernhardt, going through the trials and tribulations of putting on a show, Yet never able to be satisfied. The other actors simply create a background for McTeer, who is on a whole other level. Mark Twain’s quote about Bernhardt could be changed to fit her. The direction was so natural that it was hard to believe they weren’t just moving around of their own accord. The creative design on this show was excellent, and I personally think it should win the Tonys. Especially Beowulf Boritt (The man who was kind enough to invite me)’s set, which was lavish and really suited the period. The costumes were also luxurious, and you could see by those designs how she went bankrupt. I’m writing this before the first preview so you know whether you want to see it or not. But I hope you do, as it’s a chance to see a truly amazing new play, something that doesn’t happen a lot. 

Update!

Hi, Readers!
You may have noticed that I haven't blogged in a while, because I've been busy, but I just want to let you know that there will be another blog post by Memorial Day. In the Works are pieces about Mean Girls, Anastasia, On a Clear Day, Fiddler in Yiddish, and possibly Bernhardt/Hamlet. Here's a preview.
... Henningsen shines, and although she has been criticized for seeming fake, I think she seems very real. She gets to shine in her song "It Roars", and although she's not quite as good as she is on the cast album, some of the projections make this more effective than it would be otherwise. (e.g., a fake "plane" from Africa to America) The part where she feels awkward is represented convincingly as a dance metaphor. She shows the journey to power very well, and make you sympathize with Cady, even when she becomes "a clone" of Regina. "Stupid With Love", while not containing the best lyrics, is a fun song, if a bit bland. here you can see a bit what is meant by her "thin emotion", but really, what opportunities does that song really give? "More is Better", a totally forgettable song, almost the opposite of an "I want" song, more of an "I got" song...
Remember to check back on Labor Day!

Miscast Article

It’s not often one has as exciting an experience as getting to go to MCC’s benefit Miscast. I had the privilege of interviewing all of the cast members, and each shared an insight into their work. After the red carpet, we were ushered into the gorgeous and spacious Hammerstein Ballroom. Immediately after we sat down and ate our appetizers, Greta Gerwig came out and praised the evening’s honoree, Laurie Metcalf. Gerwig introduced a video where everyone from Nathan Lane to Glenda Jackson said that Metcalf was a delight to work with. One in particular said, “She is what we are all striving to be.” While Metcalf didn’t get a chance to perform, clips were shown of her in numerous TV shows, plays, and movies such as Roseanne and Ladybird. We could understand everyone’s compliments after witnessing her acting. Metcalf gave a charming acceptance speech, in which she thanked MCC for putting her in a play which people still say affected them. While her monologue in that play was not shown, it was alluded to so often that we wish it had. Then we ate dinner, after which the evening’s other honoree, Amy Leon, made a very touching speech. To anyone who wasn’t there, MCC recommends donations to their youth program which you can make at https://web.ovationtix.com/trs/store/32215/alldonations/26207? If Leon is any example, it really should keep running. She sang a song from her new musical that was touching and creative.

Then, finally, the revue itself started. After a countdown from 10, artistic director Robert LuPone said, “Cassie, stay onstage please.” That started a fantastic rendition by Robert Fairchild of “The Music and the Mirror.” He likes a challenge. He’s been dancing his whole life, and singing has come later on, but you’d never know it, because his voice is just as good as his dancing. And although the dancing was not ballet, which Fairchild excels in, he did just as well at modern/jazz dance. No choreographer is listed in the program, but it must have been choreographed, because no one could just make all of that up. You can tell from the dialogue portion of the song that Fairchild himself, and not only Cassie, has probably had the experience of going for the chorus even when people think of him as a star. And Fairchild himself is beginning to equal the level of Gene Kelly, who he told me is his idol. Then Alex Newell did his first of 2 numbers, making a song that is not very clever more interesting, namely “Being Good Isn’t Good Enough” from Comden and Green’s Hallelujah Baby! While I appreciate him making a more esoteric choice than most people (or maybe it wasn’t him; as artistic director Bernie Telsey said, the team collaborates with the actors to choose the songs), there are probably better songs from old flops that are more suited to him. But he really shone in his other song, which I will discuss later. 

Gavin Lee, Ethan Slater, and Wesley Taylor formed one of the best acts in the show. As a jokingly conceited opening, they came out and pretended that the audience wouldn’t stop clapping. No one could after the song that followed. While they didn’t choose a song from any of their favorite shows (respectively Chess, Sweeney Todd, Cabaret, or Spongebob (which was all of their favorites)), they still managed to incorporate Spongebob into their song. They talked about how hearing character voices onstage each night could drive a person crazy, and then proceeded to sing as April, Marta and Kathy in the song of that name from Company. They notably changed a few lyrics such as (Bobby is my hobby and I’m giving it up) to (Spongebobby is my hobby and I’m giving it up). It was definitely the most fun song of the entire evening. James Monroe Iglehart, Javier Muñoz, and Lexi Lawson definitely gave it a run for its money, though. Iglehart has moved on from Disney’s Aladdin to replacing Daveed Diggs in Hamilton. But he wishes he could’ve replaced someone else, namely Renee Elise Goldsberry, because he sings “Satisfied” with the help of the certainly not Miscast Javier Muñoz and Lexi Lawson, who actually play Hamilton and Eliza on Broadway. While Muñoz says that Hamilton is hard and emotionally difficult, he doesn’t show it in this number. 

But not all numbers were happy and fun. One great number, by Jayne Houdyshell, was touching and moving. Going in a much different direction than her dream role of Mrs. Lovett, she sang two short excerpts of “It Only Takes a Moment,” between which she told about how she and honoree Metcalf met and became friends. Resuming the story with (it only takes a moment/to be loved a whole life long) brought tears to many people’s eyes. Afterwards, Metcalf came up and she and Houdyshell shared a hug, making for one of the sweeter moments of the show. Soon, however, we would get comic relief with Caissie Levy singing “Shiksa Goddess” from The Last 5 Years. While she partly takes her current portrayal of Elsa from the movie, her “Goddess” was not inspired by Jeremy Jordan’s at all. It is a fun and funny song, and Levy managed to get all the laughs out of it possible. She even updated it for today’s political climate (If you had a strong connection/to your firearm collection/I say grab a bead and shoot) to (If you had a strong connection/to your firearm collection/well, that might be a dealbreaker, actually) and made it into one of the best acts of the evening.

Although another singer, Auli’i Cravalho, has never been on Broadway, she has switched from cartoons (Moana) to live singing and acting (Rise). She says that voice acting is natural for her, but it is different when she sees her face, because she doesn’t know what to do with it. She shared how when she first heard this song she thought it was obscure, and she proceeded to sing “Something’s Coming” from West Side Story. She added a pop flair, and it was enjoyable to listen to.

The aforementioned Jeremy Jordan conveniently sang a song from his dream role (we know who picked that one), or “She Used to Be Mine” from Waitress. He managed to make this song very entertaining and also wowed us with his vocal range. Victoria Clark managed also to make The Wiz’s “Be a Lion” very entertaining, and show off her vocal range in the processs. She said that there is no difference between performing for adults and kids, on her end of the process. She shows a remarkable ability to do both. This song is an absolute delight, as is everything she sings. Although Sara Bareilles restarted several times, it was definitely worth it to hear her take on the anthem “Make Them Hear You” from Ragtime. Strobe lights helped make it into the showstopper that it turned out to be, but the strength of her voice alone is enough to carry any song. Bareilles has experience being both a song writer and an actor, and she believes that both are telling a story, whether from an internal or external perspective. She shows an immense talent for both, but especially for bringing the house down. She showed an equal ability to do so in the recent Jesus Christ Superstar Live!, in which she sang “I Don’t Know How to Love Him.”

While Jordan Fisher disappointingly did not get to dance in this or Hamilton (he won Dancing with the Stars), he showed an equal ability to sing while belting “I’m Here” from The Color Purple, which Cynthia Erivo also sang brilliantly at the Tonys two years ago. While it’s not a fun number, it is a great way for performers to show of their voice, which Fisher did admirably in this song. At one point in the show, Katrina Lenk suddenly stood up in her seat and started doing an impromptu piece on the violin, which led into the famous violin piece from Fiddler on the Roof. She then pop-ized “If I Were a Rich Man,” while adding her own special je ne sais quoi which made it a bring-down-the-house number as well.  While silence is her favorite moment in The Band’s Visit, there was none of it in this tour de force. It was the only song that actually got a  standing ovation, and it definitely deserved it.

And finally, at the end of the show, Alex Newell, backed up by Krystina Alabado, Marcus Paul James, Tiffany Mann, and Ben Thompson, gave Keala Settle a run for her money singing “This is Me.” This song was especially powerful coming from Newell, as one can assume that he has faced some obstacles throughout his life. He can be so dramatic, it is no wonder that he looks up to Viola Davis. It was also more powerful with the four backup singers, adding the ensemble number quality that it needed. Certainly Miscast employed an old technique called saving the best for last. Finally, everyone took their bows to ferocious applause.

Afterwards, I was able to go up on stage and interview some more actors. I would like to thank everyone I interviewed for letting me interview them and giving great answers, and more than anyone, executive director Blake West for inviting me. I would like to end with a quote from Robert LuPone, another artistic director. “My favorite part of Miscast is the end.”

Hey, Look Me Over review

Hey, Look Me Over opened on Wednesday as the first show of the Encores! season. If the rest of the shows (which many have said are dubious choices) are this good than we should all buy our tickets now. The curtain of this show is special in itself. It features posters of past Encores shows and a huge 25. They will go on to also be the background once the curtain rises, but I’m getting ahead of myself. First, the hilarious Bob Martin, reprising his role of Man in Chair, comes out and introduces how he created the show. He tells how he sent letters to Jack Viertel imploring him to do certain shows, and eventually he responded with “Fine. You do it.” And so, to quote him again, “Let’s start with an overture, because everything is better with an overture”. I personally am inclined to disagree, but the Wildcat overture is so fun to listen to that it is not an issue. Next, the residents of Wildcat’s Centavo City come out in much the same way that the residents of Greenwillow do later in the show (Whose fault is this?), in a state of depression, but when a Fiddler-like rumor that oil can be found everywhere arises, people perk up considerably. According to Gerald Nachman’s book Showstoppers, opening numbers should set the tone for the rest of the show. Whoever heard this must have thought they were in for a dull evening. It is basically just a way to set up the plot, and is a by-the-book example of exposition. Next comes the delightful title song of the show. (That is Hey, Look Me Over) It is sung with much enthusiasm (and a surprising amount of props for Encores) by Britney Coleman and Carolee Carmello. Although Carmello’s outfit is so strikingly hideous that you almost want to look away, the rambunctious singing and staging are fun to see. Overall, though, it makes a dull opening to a spectacular show. Martin recites more jokes and facts, until the next show, All American, takes the stage. “Melt Us” is in my mind, one of the greatest songs ever written, even though Charles Strouse and Lee Adams sounded slightly monotone on the backer’s recording. The cast also excelled at performing it. Sarah Jane Shanks as Katrinka was especially good. I believe that this is one of the best Charles Strouse musicals. The surprisingly charming Reed Birney makes an entrance to big applause, as does everyone else in the show. The star of such shows as The Humans and 1984 wouldn’t be expected to sing, but neither was Jake Gyllenhaal. His ‘What a Country” sounds much like Ray Bolger’s, though. The two men auditioning for West Side Story was probably not in the original. It was basically a cliche, however the watch bit was clever. (his watch gets stolen by a man who is “selling” them) It is funny and charming, but not an especially good song. Next comes a book scene, and there should be more of these, since you can hear all the sings on cast recordings. Although I had dreamcast Carolee Carmello as Elizabeth Bullock in this show, Judy Kuhn really does add a certain nuance and world-weary sensibility that is necessary. In an unnecessary gag, they begin to sing the wonderful song “Our Children” but Martin cuts into the action by saying they should instead sing “Once Upon a Time”. For me it was just disappointing when they didn’t continue with “Our Children”, and it made a good portion of the preceding scene pointless. Birney exerts his full charm in “Once Upon a Time”, a choice I would not have made, as this goes against the previous two songs which were funny and joyful. But the starry night sky setting, though traditional, is convincingly used. Even though all the sets are detracted from by the endless Encores playbills that hang from the walls. But I should get back to All American. Despite all the aforementioned reasons that they shouldn’t have done the song, it is still pleasant to hear and is a good way to end this portion of the show. Next Martin again comes onstage, but is interrupted by Vanessa Williams coming out from the wings. She impolitely tells him to “leave the stage” but we wish we could hear Martin’s funny comments. Another glaring error is that we don’t even find out that these songs are from Jamaica until after they are performed. William excels on “Ain’t it the Truth’” because she is the perfect blend of dry, funny, and showy. Although I haven’t heard her in St. Louis Woman, I’d say she probably was good in that as well. These numbers are, however, made to seem pointless and abstract, and Williams has a distinct I’m-too-good-for-this air. But even so, I was thrilled by this first song, but the second song was a total letdown. Although “Push De Button” was backed by a chorus of hunks, it did not make up for the fact that it went on for much too long and was slightly tedious even to begin with. And sexual connotations such as those present in “I Can Cook, Too” were definitely not hidden. The only highlight of the number was the bit of acrobatic dancing there Williams was lifted high in the air. But what follows will definitely make up for it. That is Jerry Herman’s Milk and Honey. I have always objected to “Shalom”, as it is a bit draggy, but Marc Kudisch somehow manages to make it interesting. I’ll admit the characters are stereotypes, but the actors (Judy Kuhn and Marc Kudisch) more than make up for it. Although neither has worked in a while, this is one of the more plausible ideas for a revival (not counting last season’s Musicals in Mufti production). Then another scene in which Britney Coleman (as Kudisch’s daughter) and himself are trying to convince Kuhn to go on a ride. They are also introduced to the meddling Clara Weiss (essentially a Jewish Dolly Levi) who is clearly trying to arrange a match. (she, too, puts her hand in there) played well by the delightful Nancy Opel, although none can rival the York’s Alix Korey. Next comes the somewhat un-called for “independence Hora” which is essentially a simplified version of Hofesch Shechter’s “To Life” from the recent Fiddler. It is pretty much silent, except for a few shouts of “hey, kalima, hey!” at random intervals. But next comes another brilliant song, “Milk and Honey”. It is the slightly overzealous Tam Mutu and other villagers who sing about the pleasures of Israel, while Clyde Alves gives Kudisch a more pessimistic and down-to-earth view. Whether or not the honey is bitter or sweet, they can all agree that “this lovely land is mine” even if it carries a note of sarcasm. The next show (and finale of Act 1) is unquestionably the best one. The wonderful Douglas Sills sings the song “Movies Were Movies” from Mack and Mabel. It has a great silent movie routine, everything from murder to pies-in-faces. I wish directors could be today as careful about their filming as Sills (or rather, Sennett) is. Although he almost goes crazy when a kid from a sandwich shop delivers needed refreshments during a take, he does offer her a contract. About this show, Martin comments “the anal of you will notice that Jerry Herman is overrepresented” but you'd have to be pretty anal to care, since they are both so good.Next comes another song from the same show, “Look What Happened to Mabel”. Alexandra Socha is convincingly wide-eyed, but at the same time a bit cloying. It is a good song over all, if bit stereotypical (in the  style of “Mame” and “Hello, Dolly”). On this medium note, we set off on intermission. When we return, we here an overture from a show that is (un)fortunately not otherwise represented, Subways are for Sleeping. The overture includes the standard “ Comes Once in a Lifetime” and other songs from that show. Then we move on to Frank Loesser’s Greenwillow, which is in itself startlingly overrepresented with 5 songs, only one of which is a standout. Despite a fight scene between Kudisch and Clifton Duncan (his son) which Joseph Stein would envy (thank you, Lesser Samuels) a Brigadoon-like plot (which Martin viciously says) and dull songs do not really make a case for this show. “A Day Borrowed From Heaven” is pleasant at first, but the repetition becomes slightly unbearable after a bit. The next song, “Gideon’s Charm”, is strangely not listed on IBDB as part of the original show, nor should it have been part of this one. It is just a weak solo for Clifton Duncan when a song is coming up. it is how he slowly destroys the plant that tells of a visitor’s arrival. This procedure consists of stomping and yelling. Then we move on to “The Music of Home” a classic production number that is overly sentimental (like the show) and again, unnecessary. Next coes the diamond in the rough, “Never Will I Marry”. Duncan sings it with such a big voice and so much emotion that you immediately have to love it. Martin also gets an amusing line out of it; “this song has a special resonance for me because I played it at my wedding.” Even though our interest in the show is now somewhat lagging, it picks up again because the next show is Noel Coward’s Sail Away. Martin makes a generalization about all Coward shows. It starts with ennui, then longing, after that ecstasy, and finally resignation. We start at the beginning with “Come to Me” in which (“Hello, Dolly”-style) the other crew members explain why they’re glad to have Bebe Neuwirth on board. She also sings a bit about herself, but her true feelings aren’t revealed until later. Next, for the longing section, Tam Mutu fights with his mother, Nancy Opel, about his love life, and after cruelly dismissing her, he sings “Sail Away”, a rather dull song. In fact we are LONGING to get past it. Martin claims that we don't have time to linger in ecstasy, so we move on to resignation, with the truly delightful “Why Do The Wrong People Travel?” a lament about the stupid people on her ship, with several examples. She has not lost her talent, and this is one of the best numbers of the show (imagine “I’m Breaking Down” meets “Adelaide's Lament”). This sets us up for a big climax, which we partly get with George M!, songs from a revue used in a revue. At the performance I saw, we got a huge surprise, with the sudden entrance of Joel Grey, in person. However, I have heard that he did not appear in every performance. Clyde Alves taps (the only big dance number of the show) to the classic “Give My Regards to Broadway”, which is fun to hear, if a bit of an anti-climax. Then the cast bows (again, if I was the director, I would have something to say about the bowing order). The only sad thing about this show is that it eliminates 8 possibilities, any of which would have been fun to see. The cast then launches into Irving Berlin’s "Give Me Your Tired, Your Poor”. I hope all of you read this in time to get tickets for tonight's performance. At one point in the show, Bob Martin says, “I think we can all agree that I'm proud of me for doing this”. And if you get to see it, I know you will be too.