(Seen 5/6/09)
Dolly Parton makes her Broadway debut as a composer with this stage musical version of the 1980 film. If you loved the movie, there's no reason why you shouldn't relish this incarnation, written by the original screenwriter, Patricia Resnick.
There is non-stop music and movement, with silly and unbelievable characters doing ridiculous things, in a truly formulaic story -- the under-dogs vanquishing the "man"!
Allison Janney, revealing a gifted musical side of her talent, leads a dedicated and professional cast of thirty, through varied shenanigans to further the cause of women's lib. The expected result is the triumphant squashing of one chauvinistic, woman-exploiting middle-management male.
The music is pleasant and tempo-ed, the acting is broad, and director Joe Mantello and choreographer Andy Blankenbuehler make sure that every possible group activity is danced through the scene changes -- so that no transition from scene to scene is seamless or cinematic, as might have been intended.
The film titled award winning song, "9 To 5", is still catchy and tuneful -- a song you might leave the theatre humming.
8/13/09
ACCENT ON YOUTH at MTC's Friedman Theatre
(Seen 5/2/09)
Here is another example of misguided producers choosing to revive a lesser work of Samson Raphaelson as a would-be vehicle for an available star.
David Hyde Pierce, with a recent Tony in hand, is back on Broadway -- although he is much more appreciated on television, even in his re-runs.
Raphaelson's play comes across as dated and hokey, even being set in its original time frame. It is a lackluster, unbelievable drawing-room comedy whose time has passed it by.
Here is another example of misguided producers choosing to revive a lesser work of Samson Raphaelson as a would-be vehicle for an available star.
David Hyde Pierce, with a recent Tony in hand, is back on Broadway -- although he is much more appreciated on television, even in his re-runs.
Raphaelson's play comes across as dated and hokey, even being set in its original time frame. It is a lackluster, unbelievable drawing-room comedy whose time has passed it by.
WAITING FOR GODOT at Roundabout's Studio 54
(Seen 5/1/09)
Little seems to have changed in this revival of Samuel Beckett's absurdist classic play, which is a good thing for a play about nothing changing. The two obvious changes are the pronunciation of Godot, now "God, Oh", and the introduction of some huge rocks that make it resemble a setting for the Flintstones.
The single bare tree, the endless waiting for someone who will never appear, the psychological and societal discussions about the meaning of life and of reality -- people trapped in wordplay and re-play of their dreary daily existence -- it's all here. It affirms the sense of nothingness and emptiness and futility.
But director Anthony Page has enabled his actors to bring an underlying sense of life and struggle to these doomed characters. Bill Irwin, Nathan Lane, John Glover, and John Goodman all manage to capture the desperation and hopelessness and innate humor of their characters -- both physically and verbally -- which adds a new dimension to their pursuit.
Little seems to have changed in this revival of Samuel Beckett's absurdist classic play, which is a good thing for a play about nothing changing. The two obvious changes are the pronunciation of Godot, now "God, Oh", and the introduction of some huge rocks that make it resemble a setting for the Flintstones.
The single bare tree, the endless waiting for someone who will never appear, the psychological and societal discussions about the meaning of life and of reality -- people trapped in wordplay and re-play of their dreary daily existence -- it's all here. It affirms the sense of nothingness and emptiness and futility.
But director Anthony Page has enabled his actors to bring an underlying sense of life and struggle to these doomed characters. Bill Irwin, Nathan Lane, John Glover, and John Goodman all manage to capture the desperation and hopelessness and innate humor of their characters -- both physically and verbally -- which adds a new dimension to their pursuit.
THE PHILANTHROPIST at Roundabout's AA Theatre
(Seen 4/30/09)
Someone must have thought that Christopher Hampton's play would be an ideal vehicle for Matthew Broderick. Unfortunately, his performance has such a throwaway quality to it, everything is for naught.
This revival is peopled with unbelievable characters doing uncharacteristic things. Hampton's skewed portrait of British academia, instead of "examining the empty insular life of college intellectuals", as described by the press material, is itself empty and insular.
It becomes a boring study of what not-to-do on stage. It morphs into what it is trying to demean. David Grindley's erratic staging and pacing only adds to the sense of hopelessness and helplessness of all the characters.
Someone must have thought that Christopher Hampton's play would be an ideal vehicle for Matthew Broderick. Unfortunately, his performance has such a throwaway quality to it, everything is for naught.
This revival is peopled with unbelievable characters doing uncharacteristic things. Hampton's skewed portrait of British academia, instead of "examining the empty insular life of college intellectuals", as described by the press material, is itself empty and insular.
It becomes a boring study of what not-to-do on stage. It morphs into what it is trying to demean. David Grindley's erratic staging and pacing only adds to the sense of hopelessness and helplessness of all the characters.
MARY STUART at the Broadhurst Theatre
(Seen 4/22/09)
A stark presentation of Friedrich Schiller's MARY STUART, adapted by Peter Oswald, features expert performances by a distinguished cast, in this Donmar Warehouse import. Janet McTeer totally embodies the doomed Mary Stuart, and Harriet Walton is a worthy counterpart as Elizabeth.
The venerable Brian Murray's superb portrayal of the Earl of Shrewsbury particularly stands out in the excellent company of featured players.
Director Phyllida LLoyd has staged it fluidly and impressively, with dramatic and simple settings by Anthony Ward, and effective lighting by Hugh Vanstone. It is a worthy revival of a difficult play.
A stark presentation of Friedrich Schiller's MARY STUART, adapted by Peter Oswald, features expert performances by a distinguished cast, in this Donmar Warehouse import. Janet McTeer totally embodies the doomed Mary Stuart, and Harriet Walton is a worthy counterpart as Elizabeth.
The venerable Brian Murray's superb portrayal of the Earl of Shrewsbury particularly stands out in the excellent company of featured players.
Director Phyllida LLoyd has staged it fluidly and impressively, with dramatic and simple settings by Anthony Ward, and effective lighting by Hugh Vanstone. It is a worthy revival of a difficult play.
ROCK OF AGES at the Brooks Atkinson Theatre
(Seen 4/15/09)
If sheer audio volume is a measure of musical success, ROCK OF AGES wins all the awards. In a season somewhat aroar with rock musicals, the powers behind this production provide non-stop, deafening taped music pre-show and during intermission. They also have waitstaff roaming the aisles -- pre-show, all during the show, and at intermission -- taking and delivering drink and snack orders.
Audience attention to and concentration on what's happening on stage is somewhat diluted. Too bad that the music of Bon Jovi, Styx, Pat Benetar, and many others doesn't have an undisturbed visual focus to add to the audio.
Actually, there is a standard fairy-tale story accompanying the manic movement, and a generally personable and professional cast unfolds a thwarted love story set against the larger background of rock clubs, mall developers, and corrupt officials.
Although the show was somewhat painful for me, I must point out that the enthusiastic audience loved every moment of it.
If sheer audio volume is a measure of musical success, ROCK OF AGES wins all the awards. In a season somewhat aroar with rock musicals, the powers behind this production provide non-stop, deafening taped music pre-show and during intermission. They also have waitstaff roaming the aisles -- pre-show, all during the show, and at intermission -- taking and delivering drink and snack orders.
Audience attention to and concentration on what's happening on stage is somewhat diluted. Too bad that the music of Bon Jovi, Styx, Pat Benetar, and many others doesn't have an undisturbed visual focus to add to the audio.
Actually, there is a standard fairy-tale story accompanying the manic movement, and a generally personable and professional cast unfolds a thwarted love story set against the larger background of rock clubs, mall developers, and corrupt officials.
Although the show was somewhat painful for me, I must point out that the enthusiastic audience loved every moment of it.
WEST SIDE STORY at the Palace Theatre
(Seen 3/26/09)
This seems to be the season for reviving and deconstructing the major American musicals.
It's difficult to diminish the beauty and the power and the emotional impact of WEST SIDE STORY. With the exception of some lyrics and dialogue now spoken in Spanish, little has changed. Leonard Bernstein's music, Stephen Sondheim's lyrics, and Arthur Laurent's book still capture the tragic story of two disparate, innocent lovers, out-of-place in a world of dissention, suspicion and hate.
However, the sparks that ignited the original production and the subsequent film, have fizzled under Arthur Laurent's pedestrian and sometimes puzzling direction. And the chemistry that could bring some reality to the warring factions is missing here. The cast seems to be parodying the original tensions and movements, rather than inhabiting them.
In this almost by-the-numbers presentation, it becomes panoramic rather than involving, so the audience is watching rather than experiencing the emotion and the drama and the ultimate tragedy. Fortunately, the music and lyrics still soar.
This seems to be the season for reviving and deconstructing the major American musicals.
It's difficult to diminish the beauty and the power and the emotional impact of WEST SIDE STORY. With the exception of some lyrics and dialogue now spoken in Spanish, little has changed. Leonard Bernstein's music, Stephen Sondheim's lyrics, and Arthur Laurent's book still capture the tragic story of two disparate, innocent lovers, out-of-place in a world of dissention, suspicion and hate.
However, the sparks that ignited the original production and the subsequent film, have fizzled under Arthur Laurent's pedestrian and sometimes puzzling direction. And the chemistry that could bring some reality to the warring factions is missing here. The cast seems to be parodying the original tensions and movements, rather than inhabiting them.
In this almost by-the-numbers presentation, it becomes panoramic rather than involving, so the audience is watching rather than experiencing the emotion and the drama and the ultimate tragedy. Fortunately, the music and lyrics still soar.
GUYS AND DOLLS at the Nederlander Theatre
(Seen 3/4/09)
Director Des McAnuff and choreographer Sergio Trujillo have succeeded in destroying one of the great masterworks of the American musical theatre. It is difficult to fathom how this creative team for JERSEY BOYS, a brilliant showcase of their talent, could have struck out in so many elements of Frank Loesser's classic New York musical.
Their disastrous undertaking starts with a revised book that adds an intruding Damon Runyon as a running character/commentator. The most egregious problem is in the casting -- mainly an indifferent, vacuous, musically-deprived Oliver Platt as Nathan Detroit. And so much chemistry is missing from all the leading characters.
Both the haphazard direction and mediocre choreography add to the list of things gone wrong. Befitting the gambling vernacular, all in all, a disappointing and sometimes painful demonstration of how to turn a sure thing into an also-ran.
Director Des McAnuff and choreographer Sergio Trujillo have succeeded in destroying one of the great masterworks of the American musical theatre. It is difficult to fathom how this creative team for JERSEY BOYS, a brilliant showcase of their talent, could have struck out in so many elements of Frank Loesser's classic New York musical.
Their disastrous undertaking starts with a revised book that adds an intruding Damon Runyon as a running character/commentator. The most egregious problem is in the casting -- mainly an indifferent, vacuous, musically-deprived Oliver Platt as Nathan Detroit. And so much chemistry is missing from all the leading characters.
Both the haphazard direction and mediocre choreography add to the list of things gone wrong. Befitting the gambling vernacular, all in all, a disappointing and sometimes painful demonstration of how to turn a sure thing into an also-ran.
RUINED at MTC's Stage I
(Seen 2/19/09)
Playwright Lynn Nottage has written the best play of this season, and director Kate Whoriskey has befittingly given it a striking visual and emotional life.
A contemporary play, RUINED is set in the midst of the civil war in the Congo. It explores the lives of a group of characters passing through a brothel/bar run by a strong-willed woman who has endured all kinds of human struggles.
She is both ruthless and nurturing to the women she employs, and to her military and rebel and civilian patrons. Backstories for Nottage's main characters are expertly revealed as we follow their tortured existence and survival.
A totally involved ensemble cast creates fine dramatic and musical portrayals. The play brings a disturbing and realistic political situation to life on stage.
Playwright Lynn Nottage has written the best play of this season, and director Kate Whoriskey has befittingly given it a striking visual and emotional life.
A contemporary play, RUINED is set in the midst of the civil war in the Congo. It explores the lives of a group of characters passing through a brothel/bar run by a strong-willed woman who has endured all kinds of human struggles.
She is both ruthless and nurturing to the women she employs, and to her military and rebel and civilian patrons. Backstories for Nottage's main characters are expertly revealed as we follow their tortured existence and survival.
A totally involved ensemble cast creates fine dramatic and musical portrayals. The play brings a disturbing and realistic political situation to life on stage.
PAL JOEY at Roundabout's Studio 54
(Seen 1/7/09)
Rodgers and Hart's wonderful musical has been undermined by a lackluster and unpersonable performer in the title role. I did not get to see Christian Hoff as Joey before his accident during previews. Without the presence of a dynamite actor/dancer/singer in that role, director Joe Mantello has been unable to bring life to this classic American musical.
Surprisingly excellent musical performances by accomplished actresses Stockard Channing and Martha Plimpton are a decided asset, but not enough to make up for the lack of chemistry and personality and virtuosity demanded by the role of Joey.
Rodgers and Hart's wonderful musical has been undermined by a lackluster and unpersonable performer in the title role. I did not get to see Christian Hoff as Joey before his accident during previews. Without the presence of a dynamite actor/dancer/singer in that role, director Joe Mantello has been unable to bring life to this classic American musical.
Surprisingly excellent musical performances by accomplished actresses Stockard Channing and Martha Plimpton are a decided asset, but not enough to make up for the lack of chemistry and personality and virtuosity demanded by the role of Joey.
SHREK The Musical at the Broadway Theatre
(Seen 12/19/08)
While I always try to keep an open mind before seeing a show, sometimes I do have apprehensions about some of them. I had not seen the animated film that SHREK The Musical was based on, but I was aware of the storyline. So I had no expectations beforehand. I confess that I enjoyed the show, despite the silliness and slap-stick approach to the characters.
Brian d'Arcy James achieved the impossible -- he brought charm and emotion to a character hidden behind a hundred pounds of make-up and costume. And the book and lyrics by David Lindsay-Abaire have a certain amount of wit hidden beneath the words. While Sutton Foster creates an attitude which overcomes her stereotypical princess character, to do some of her best work to date.
Director Jason Moore deserves credit for some inventive work. All in all, it's entertaining.
While I always try to keep an open mind before seeing a show, sometimes I do have apprehensions about some of them. I had not seen the animated film that SHREK The Musical was based on, but I was aware of the storyline. So I had no expectations beforehand. I confess that I enjoyed the show, despite the silliness and slap-stick approach to the characters.
Brian d'Arcy James achieved the impossible -- he brought charm and emotion to a character hidden behind a hundred pounds of make-up and costume. And the book and lyrics by David Lindsay-Abaire have a certain amount of wit hidden beneath the words. While Sutton Foster creates an attitude which overcomes her stereotypical princess character, to do some of her best work to date.
Director Jason Moore deserves credit for some inventive work. All in all, it's entertaining.
MINDGAME at the Soho Playhouse
(Seen 11/23/08)
Even the high-powered film director Ken Russell, making his local debut as a stage director, is ill-equipped and unable to transform Anthony Horowitz's venture into mind games -- lower case "m" and "g" -- into a workable stage presentation.
MINDGAME seems to strive for the illusions/delusions/mind games that were so successfully achieved in SLEUTH. But Horowitz has stacked the deck with jokers, and Russell overplays every hand and every character. The result is a silly and sometimes embarassing pursuit for its actors. Keith Carradine, Lee Godart, and Kathleen McKenny deserve better.
Even the high-powered film director Ken Russell, making his local debut as a stage director, is ill-equipped and unable to transform Anthony Horowitz's venture into mind games -- lower case "m" and "g" -- into a workable stage presentation.
MINDGAME seems to strive for the illusions/delusions/mind games that were so successfully achieved in SLEUTH. But Horowitz has stacked the deck with jokers, and Russell overplays every hand and every character. The result is a silly and sometimes embarassing pursuit for its actors. Keith Carradine, Lee Godart, and Kathleen McKenny deserve better.
BILLY ELLIOT the MUSICAL at the Imperial Theatre
(Seen 11/19/08)
Lee Hall has written a multi-layered musical (book and lyrics) that successfully explores one family's struggles for personal achievement and survival, set against the greater picture of the British miners' futile strike in the 1980s.
Sometimes director Stephen Daldry's emphasis on grandiosity may overshadow the intimacy of the basic story of a young boy wanting something different for his life than that of a family tradition of mining. But he always pinpoints and highlights their individual struggles.
Hall has allowed us to get to know Billy Elliot's inner drives, as well of those of his older brother, his father, his grandmother, his dance teacher -- and even his dead mother.
Peter Darling's choreography is a grand mixture of dance and movement, always appropriate for the characters and the confrontational situations brought on by both personal interactions and community standards -- as well as political setbacks. And Elton John's music works smoothly, even if if may not inspire.
The entire cast -- a huge ensemble of children and adults -- is highly commendable. At the performance I saw, a phenomenal Kiril Kulish played Billy; he alternates with David Alvarez and Trent Kowalik. The show also stars Hadyn Gwynne, Gregory Jbara, Carole Shelley, and Santino Fontana, who along with all the company members, are excellent.
It's a jazzy, glossy, high-powered musical -- but most important, it works!
Lee Hall has written a multi-layered musical (book and lyrics) that successfully explores one family's struggles for personal achievement and survival, set against the greater picture of the British miners' futile strike in the 1980s.
Sometimes director Stephen Daldry's emphasis on grandiosity may overshadow the intimacy of the basic story of a young boy wanting something different for his life than that of a family tradition of mining. But he always pinpoints and highlights their individual struggles.
Hall has allowed us to get to know Billy Elliot's inner drives, as well of those of his older brother, his father, his grandmother, his dance teacher -- and even his dead mother.
Peter Darling's choreography is a grand mixture of dance and movement, always appropriate for the characters and the confrontational situations brought on by both personal interactions and community standards -- as well as political setbacks. And Elton John's music works smoothly, even if if may not inspire.
The entire cast -- a huge ensemble of children and adults -- is highly commendable. At the performance I saw, a phenomenal Kiril Kulish played Billy; he alternates with David Alvarez and Trent Kowalik. The show also stars Hadyn Gwynne, Gregory Jbara, Carole Shelley, and Santino Fontana, who along with all the company members, are excellent.
It's a jazzy, glossy, high-powered musical -- but most important, it works!
STREAMERS at Roundabout's Laura Pels Theatre
(Seen 11/13/08)
This revival of David Rabe's explosive drama is deftly directed by Scott Ellis, suitably within the confines of this intimate venue.
Despite the passage of time and circumstance, it remains topical. We are still able to experience the tensions of the new recruits and seasoned veterans in a boot camp as their lives intersect. With the backdrop of the Vietnam war, we see them dealing with racism, homophobia, and socio-economic issues, as they crystallize into a brutal and needless murder.
Ellis has elicited finely honed performances from a strong ensemble cast, in a play which, unfortunately for our society, is still relevant today.
This revival of David Rabe's explosive drama is deftly directed by Scott Ellis, suitably within the confines of this intimate venue.
Despite the passage of time and circumstance, it remains topical. We are still able to experience the tensions of the new recruits and seasoned veterans in a boot camp as their lives intersect. With the backdrop of the Vietnam war, we see them dealing with racism, homophobia, and socio-economic issues, as they crystallize into a brutal and needless murder.
Ellis has elicited finely honed performances from a strong ensemble cast, in a play which, unfortunately for our society, is still relevant today.
ROMANTIC POETRY at MTC's Stage I
(Seen 11/4/08)
John Patrick Shanley has had many moments of triumph in his long and successful career as a playwright, screenwriter, and director. So it is even more incomprehensible why his better judgment didn't tell him to leave this inconsequential and muddied theatre piece in some bottom drawer or forgotten storage trunk.
Instead, obviously indulged by Manhattan Theatre Club's creative team, he has collaborated with composer Henry Krieger, to direct his own musical (book and lyrics). It is a haphazard descent, with trivial and banal lyrics and dialogue, into a silly world that cannot be excused by labeling it "Romantic Poetry". I commiserate with an otherwise capable cast who are made to say and do such inadequacies.
I eagerly look for to Shanley's return to his former world of meaningful, provocative, and thoughtful drama.
John Patrick Shanley has had many moments of triumph in his long and successful career as a playwright, screenwriter, and director. So it is even more incomprehensible why his better judgment didn't tell him to leave this inconsequential and muddied theatre piece in some bottom drawer or forgotten storage trunk.
Instead, obviously indulged by Manhattan Theatre Club's creative team, he has collaborated with composer Henry Krieger, to direct his own musical (book and lyrics). It is a haphazard descent, with trivial and banal lyrics and dialogue, into a silly world that cannot be excused by labeling it "Romantic Poetry". I commiserate with an otherwise capable cast who are made to say and do such inadequacies.
I eagerly look for to Shanley's return to his former world of meaningful, provocative, and thoughtful drama.
TO BE OR NOT TO BE at MTC's Friedman Theatre
(Seen 10/19/08)
Nick Whitby's adaptation of this 1942 comedy film, set against a background of the Nazi scourge, is another forgettable exercise in bringing classic movies to a new incarnation on the Broadway stage.
Despite an otherwise capable and personable cast, director Casey Nicholaw is unable to overcome the script, and fails to elicit even passable performances from his cast. It becomes a disastrous display of how wrong a "black comedy" -- as the producers describe it -- can become a bleak tragedy.
Nick Whitby's adaptation of this 1942 comedy film, set against a background of the Nazi scourge, is another forgettable exercise in bringing classic movies to a new incarnation on the Broadway stage.
Despite an otherwise capable and personable cast, director Casey Nicholaw is unable to overcome the script, and fails to elicit even passable performances from his cast. It becomes a disastrous display of how wrong a "black comedy" -- as the producers describe it -- can become a bleak tragedy.
A MAN FOR ALL SEASONS at the Roundabout's AA Theatre
(Seen on 10/12/08)
Robert Bolt's informative historical drama smoothly reveals the backstory of Sir Thomas More, and his inevitable death over moral values, when he refuses to support Henry VIII's decision to abandon the Catholic Church. But this revival is noteworthy mainly because of the overpowering presence of Frank Langella.
Langella is an imposing force in his embodiment of Thomas More. He embues the character with all the human frailties and intellectual forces that struggle within the man. We see him as a husband, father, holy man, and politician in a performance worthy of another Tony Award.
Robert Bolt's informative historical drama smoothly reveals the backstory of Sir Thomas More, and his inevitable death over moral values, when he refuses to support Henry VIII's decision to abandon the Catholic Church. But this revival is noteworthy mainly because of the overpowering presence of Frank Langella.
Langella is an imposing force in his embodiment of Thomas More. He embues the character with all the human frailties and intellectual forces that struggle within the man. We see him as a husband, father, holy man, and politician in a performance worthy of another Tony Award.
8/9/09
BURN THE FLOOR at the Longacre Theatre
(Seen 8/5/09)
The first Broadway show of the new season leaped onto stage this week in a frenzy of non-stop dancing. BURN THE FLOOR features a troupe of professional dancers from around the world, in an energetic display of all shades of ballroom dancing, with a decided latin beat. There is no book or theme that ties the show together, though sinuous, sexual overtones pervade every number --- a series of duets and ensembles, performed to a combination of live and taped music.
It is obviously a show designed for a specific audience, and easily succeeds in turning them on. At times, the whistling and cheering and clapping even overshadowed the frenetic activity on stage. The audience seemed populated by the huge number of fans for popular TV reality dance shows --- specifically, "So You Think You Can Dance" and "Dancing With The Stars".
Although Broadway seems an unlikely venue for this type of entertainment, it appears to fill a niche for the ballroom dancing aficianados and the tourist crowd.
The first Broadway show of the new season leaped onto stage this week in a frenzy of non-stop dancing. BURN THE FLOOR features a troupe of professional dancers from around the world, in an energetic display of all shades of ballroom dancing, with a decided latin beat. There is no book or theme that ties the show together, though sinuous, sexual overtones pervade every number --- a series of duets and ensembles, performed to a combination of live and taped music.
It is obviously a show designed for a specific audience, and easily succeeds in turning them on. At times, the whistling and cheering and clapping even overshadowed the frenetic activity on stage. The audience seemed populated by the huge number of fans for popular TV reality dance shows --- specifically, "So You Think You Can Dance" and "Dancing With The Stars".
Although Broadway seems an unlikely venue for this type of entertainment, it appears to fill a niche for the ballroom dancing aficianados and the tourist crowd.
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