Season in Review Part 4

Sorry I haven't been keeping up daily, but I am rehearsing for a show right now and consequently am very busy. I'm going to go out of sequence today. Instead of reviewing Foxy, Lady in the Dark, and Tootsie, I'll be reviewing Foxy, Lady in the Dark, and Be More Chill, as I just saw the latter today.

FOXY

No full cast recording exists. One of the few shows Johnny Mercer wrote, and the star was Bert Lahr. Interesting that this show had never been revived. And yet, Robert W. Schneider was kind enough to bring this show to a new audience. Perhaps none can imitate Bert Lahr, but the Jim Brochu, a comic in the old style, brought enough charisma, charm, and singing and acting ability that I’m sure no one even compared him. Chip Zien gave a standout performance even if his role wasn’t big enough, and the song “Many Ways to Skin a Cat,” one of my favorites, w as performed delightfully. Schneider also filled in the holes in the plot a concert reading must have. As a special surprise, it also featured critic Michael Riedel in a cameo appearance, with a convincing English accent. A truly delightful evening.

LADY IN THE DARK

Rarely, if ever, have I been so awed by a show as Lady in the Dark at Encores. Backed not only by the famous City Center orchestra, but also by the very large Mastervoices choir, Victoria Clark delivered a complicated performance, with beautiful singing and every word was delivered with a delightful lilting tone that befit the character. Amy Irving, with the proper mysterious air as the gender-switched doctor, also provided a somewhat intense highlight. Ben Davis was slightly dull, and Ashley Park, though fun, was out of the time period of the show. Despite these things, each of them was still a joy to watch. The only thing bringing the show down was the grotesque David Pittu, whose “Tchaikovsky” was underwhelming to say the least. But this production really brought new life to the classic show, and the dance numbers were staged with professional dancers and singers that really made it seem like a bigger-scale production than is average for City Center. The slightly mystical air of it all, the convincing design, and the great cast all conspired to make it perhaps the best production of this particular show you’ll see in a while.

BE MORE CHILL

An experience is the best word for this show. Effects, singing and acting bursting out to make a glorious whole. The songwriting by Joe Iconis, while it occasionally borders on theme-obsessed (of Jeremy not being a typical leading man), was for the most part fun, funny, and enjoyable. All the performances, especially that of George Salazar brought down the house and rightfully so, for they ere more complex than performances in, say, Mean Girls, and they really enhanced the show. Will Roland, finally getting to be the star, has a surprising amount of acting chops and "Loser Geek Whatever," his big song, really show off all of his range and talent. Stephanie Hsu also gives a true portrayal of a cute thug slightly obsessive girl. Jason SweetTooth Williams also does a great job in his many roles. And I would be remiss if I didn't mention Jason Tam, who is deliciously evil (and amazingly ressed) as the Squip. The creative team has also created a sort of electronic whole that perfectly fits with the musical’s plot. It is completely enjoyable, and I could literally feel the theater rumbling during the curtain calls. I highly recommend it to anyone, especially teenagers. 

Season In Review Part 3

Here is today's 3 shows, Forbidden Broadway Salutes Carol Channing, The Cradle Will Rock, and Sondheim:Wordplay. Check back tomorrow for reviews of Foxy, Lady in the Dark, and Tootsie.

NOTE: Please leave comments on my blog. I love to hear your opinions on the shows being discussed and feedback on my blog. I can't see who's reading this, and it is always fun for me to read your comments. Also please tell me if there are any shows you'd like to see reviewed, and I will try to do in-depth reviews of them if I've seen them. Thank you!

FORBIDDEN BROADWAY SALUTES CAROL CHANNING 3/23

A one-night 54 below event truly for only the biggest fans of Forbidden Broadway. Both a memorial for the late Carol Channing and a love letter to Forbidden Broadway. Featuring Gerard Alessandrini, Christine Pedi, and Michael West (credited), as well as several other uncredited stars, including the great Donna English. Songs mostly about Carol, including a new one where she reviews the shows of the Broadway season, were mixed in with reminiscences about Channing’s close relationship with the show and its performers. Of course, the number she was actually in, “Imitation is the Sincerest Form of Flattery” was performed. It was a delightful reunion that while it had a sad subject, was really a nostalgic remembrance of Channing and of Forbidden Broadway. It was an event that I know at least left me thinking about a possible next edition. Judging by this event, I’m sure they wouldn’t have trouble filling an audience!

THE CRADLE WILL ROCK- 3/28

A deeply interesting production of a show in all the history books. It is filled with stunningly dramatic and realistic performances. The spare direction by John Doyle gives it an almost alarmingly real feeling. About the corrupt society battle of the rich vs. the poor, we see how the businessmen control everything with money, from the church to the doctors, to their advantage. Meanwhile the working class, represented by Larry Foreman, is struggling, and all of the pro-union protests are being shut down or ignored by the men in power. Interrupted by occasional light songs from the children of Mister Mister, the stereotypical rich boss-type, the show is serious, raw, and interesting in many ways. David Garrison gives a scene-stealing performance as Mister Mister, while Tony Yazbeck reveals an emotional gravitas as Larry Foreman and other characters. Sally Ann Triplett gets to show her slightly off-beat performance style as Ms. Mister, and the show is a relevant warning tale as well as a deep evening at the theater. 

SONDHEIM: WORDPLAY:3/30

The greatest writer, some might say, ever. His music sung by some of the finest comedic actors and greatest singers of our time. A perfect concert, with all of Stephen Sondheim’s songs, though out of context, each in its proper emotional setting. Bravo to the director for somehow making it a narrative and knowing exactly when and how to play with the audience’s mood. Melissa Errico’s slow, almost lullaby version of “Send in the Clowns” that carried deeper emotional weight than, in my opinion, the ones on either cast recording, and the elfin Christopher Fitzgerald’s charmingly scandalous “I Never Do Anything Twice” were the highlights of the show. Lesli Margherita also got a great vehicle in “Come Play Wiz Me,” my personal favorite song from Anyone Can Whistle. Lauren Worsham, Telly Leung, and Lewis Cleale all shined as the supporting players in this concert. Leung’s short but endearing “I Guess This is Goodbye” garnered the proper amounts of laughter and sadness. It was truly a memorable evening, perhaps one of the best I’ve ever spent at the theater. 

Season in Review Part 2

Broadway shows take Mondays off, and so do I. But here's my Tuesday installment in which I will be reviewing three shows, A Jewish Joke, The Prom, and The Cher Show. Check back tomorrow for Forbidden Broadway Salutes Carol Channing, The Cradle Will Rock, and Sondheim:Wordplay.

THE CHER SHOW- 2/21

Cher is a larger than life figure. Her music, while great, is very uniquely suited to her. So how could anyone play her? Stephanie Block does an excellent job playing the icon that is Cher and giving her songs the proper treatment. While Micaela Diamond is rather sub-par, the glorious and glamorous production (designed by Bob Mackie) more than makes up for any faults the book or performances might have. Jarrod Spector makes a great Sonny Bono, unlikable but charming at the same time. The song-interrupted-by-reflection style services the piece well, and the direction is creative. The choreography helps add to the spectacle, as does the 15-minute Mackie fashion parade. Teal Wicks, with her sharp wit and acting skills, is one of the highlights of the show as well. After you leave the show, you will want to “turn back time” and see it again.

THE PROM-3/7

One of the best shows of this season. One of the best shows I’ve ever seen. A musical comedy  in the true Golden Age style. The performances are deliciously hammy and funny and each one’s singing is a pleasure to listen to. The book is funny, “inside”, and has a message without being preachy. The songs exemplify a kind of joy, even in ballads such as “We Look To You” that we don’t get enough of these days. The frenetic direction and choreography enhance the sheer excitement of the show. The vibrant costumes and sets as well as the fun though slightly in-your-face orchestrations, create a joyous, funny though serious romp that will truly make you wish there were more musicals like it. The world of Caitlin Kinnunen as Emma, a lesbian girl treated badly by homophobes in her school, while upsetting, still contains songs like “Just Breathe” and “Dance With You” whose hopeful and simple melodies distract from the sadness of the situation, eventually fixed by the razzle-dazzle. Brooks Ashmanskas gives one of the best star performances I’ve ever seen. So much humor goes into his performance that it is truly his show. Beth Leavel, Michael Potts, and Christopher Sieber are all truly great stars -- Leavel with her star quality and humor, Potts with his godly aura, the gravitas of the show, and Sieber with his sheer talent in every area, . I would be remiss if I didn’t mention Angie Schworer, who steals the show with “Zazz”, the chorus girl who finally gets to shine, and does she ever. The second time I saw it, I think I looked forward to her the most. 

A JEWISH JOKE- 3/9

Before I write this review, I would like to thank Show-Score. This show, The Cradle Will Rock, and Life Sucks I have all seen absolutely free due to Show-Score. All you have to do is write 6 short reviews of shows, and you start getting free offers for wonderful shows like this.

A Jewish Joke was at different times funny and sad, each masterfully in turn. It is about a Jewish comedy writer during the Blacklist, featuring his phone conversations with his partner. He must come to terms with the fact he will be punished because his partner once attended a Communist meeting. He has to ask himself if he can bring himself to name his partner’s name, or else be blacklisted. Interrupted by funny jokes in the true Jewish sensibility, it is a bittersweet warning tale of persecution, betrayal, how far we can go, and when is it so bad a joke can’t fix it. A delightful and deeply moving play, it was both educational and had an entertaining and moving narrative. 

Season in Review Part 1

Dear Readers,

I have not posted so far about any of the season's shows. Therefore, I have selected 21 on and off Broadway shows to review in short. I will be releasing these in daily drops of three, inside the time frame of Call Me Madam to Promenade. Please check back every day for 3 more. Today's reviews: Call Me Madam, Superhero, and Kiss Me, Kate.

CALL ME MADAM- 2/9

When this was announced as part of the 2019 Encores season, I know I was excited. However, I was hoping for someone with more star power than Carmen Cusack. While great in Bright Star, somehow the music of Steve Martin and the music of Irving Berlin didn’t seem comparable. Then, however, we got an extremely funny cast of character actors, among them Lauren Worsham, Randy Rainbow, Carol Kane, and Brad Oscar, who all gave the show a big lift. While Cusack sang and acted the role extremely well, she didn’t have the larger than life personality to carry off the entire role. The wonder bread Jason Gotay, while good, again wasn’t a standout. This left room for a political number as well as several short scenes to take over the show. It was definitely a mixed bag, but a fun mixed bag, if not an artistically pleasing one. 

SUPERHERO- 2/10

This show was a standout of the season for me, and I was disappointed nothing happened with it. I thought the production was extremely moving, well-written, well-acted, and captivating. Bryce Pinkham as the superhero made the role interesting, suspenseful, and stole every scene he was in. Kate Baldwin as the mother gave a dynamite performance, and Tom Kitt wrote a moving anthem about loss, “Laundry for Two," that was a great vehicle for her. The dialogue is funny but never strained, and though the choreographic choices are occasionally faulty, the acting makes up for that. Kyle McArthur (full disclosure: he is my camp counselor) gave a stunningly complex debut performance. Thom Sesma, with the proper air of mystery, was a joy to watch. While the plot line was a bit cliched, and the other young performers weren’t so good, it was still a deeply moving show about recovery and family. 

KISS ME, KATE-2/17, 4/14

A joyous romp from beginning to end. All the performances excelled without exception, and the frenetic dancing was really the highlight of the show. Will Chase’s operatic “Were Thine That Special Face” was one of the highlights of the show. And despite the fact that I saw Ms. O’Hara get her finger stuck in a door during “I Hate Men," she showed the meaning of trouper and went on through the whole show. Ms. Styles, as Bianca, gives a bubbly and charming performance, with great singing and acting skills to match. Corbin Bleu, though not a great actor, has dance skills that more than make up for it. I saw this show twice, and the second time, two numbers “Always True to You In My Fashion” and “Brush Up Your Shakespeare," had been cut down. Wise decisions? I think so. The two gangsters were simply not good enough to match the rest of the production (I did not see Richard Kind in it.) The choreography and direction on this show were truly awe-inspiring.