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.
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