A GENTLEMAN'S GUIDE TO LOVE & MURDER  

at the Walter Kerr Theatre

(Seen May 17, 201)

This by-the-numbers musical romp, based on the same source as KIND HEARTS AND CORONETS,    

breezes through the story-line much like it was a combination of British music hall fare and Gilbert & Sullivan --- fast, furious. obvious, and sometimes too precious.

It is an entertaining tour-de-force for its versatile company, who have a chance to show off some wonderful singing voices.  It is a great talent showcase, particularly for Lauren Loorsham and Lisa O'Hare, as well as for Bryce Pinkham and Jefferson Mays.  

Admittedly, this is not my kind of a show, but along with the enthusiastic audience, I enjoyed the music and G & S patter.

(Interestingly, this is another show which features more than three dozen producers above the title.)

CABARET  at Studio 54

(Seen April 30, 2014)

In this raucous revival of the last revival of this modern-classic musical, all the characters are there, but it comes across as tired and dated.  Alan Cummings' previous triumphant portrayal of the emcee now seems somewhat pedestrian.  And his rendition of "If You Could See Her" lacks the impact of the underlying meaning of the song.

If the role of Sally Bowles is supposed to be that of a second-rate singer and an amoral prostitute, then Michelle Williams fills the role perfectly, although we're used to seeing superior singers with a slight touch of class in the role.

Bill Heck is a lackluster Clifford Bradshaw, and we care very little about his pivotal character.  That feeling seems to pervade the whole production, despite the particularly good work of Linda Edwards and Danny Burstein.  The large ensemble does provide a spirit and verve in their often-multiple roles.

The music remains a beautiful and effective score.

ACT ONE  at the Vivian Beaumont Theatre

(Seen April 27, 2014)

James Lapine's  adaptation and direction of Moss Hart's now-classic autobiography is lively and entertaining.  As Hart, three stars play him at different ages of his life:  Santino Fontana, Tony Shalhoub, and Matthew Schecter, each one personable and accomplished --- particularly appealing is Fontana!

The inventive turntable-mounted set by Beowulf Boritt, and effective lighting by Ken Billington, serves Lapine's  cinematic approach, even though it sometimes seems cumbersome.

My problem is with the tone of the play, and some of Lapine's choices of material.  He trivializes many of the characters, particularly those of Dore Schary, Ed Chodorov, and Charles Gilpin.  Although the events my be true to Hart's book, it feels like Lapine was always looking for a comedic punch-line, trying to make it a popular entertainment. 

Obviously he succeeds, judging by the enthusiastic audience response to the jokes and the caricatures.  But it could have been so much more

THE VELOCITY OF AUTUMN  at the Booth Theatre

(Seen April 25, 2014)

Eric Coble's contemporary  realistic play effectively involves the audience in this story of an aging parent and the eldest of her dysfunctional children.  The dialogue and the characters come across as real people trying to connect, and explores the dilemma of growing old and living alone.

Although the situation that Coble creates may strain our credulity, the characters do not.

The play stars Estelle Parsons and Stephen Spinella as the mother/son antagonists.  At the performance I attended, Ms. Parsons was out sick.  Her standby, Libby George, was not the least bit disappointing.  She is an accomplished actress who fully inhabited the role.  Spinella, as always, was excellent.

Although the play is a fine vehicle for these stellar performers, it seems to end rather abruptly, without really resolving the somewhat absurd situation Coble has created.

VIOLET at the American Airlines Theatre

(Seen April 24, 2014)

Sutton Foster proves her versatility again as she essays the title role in this  highly effective musical.  With appropriate low-key music by Jeanine Tesori and fine book and lyrics by Brian Crawley, it features an excellent cast, simply and effectively staged by Leigh Silverman.

It is an intimate, small-scale musical that totally involves the audience in Foster's character's journey.  Alexander Gemignani demonstrates once again his ability to inhabit a role, and Emerson Steele (as the young Violet) makes a memorable Broadway debut.

A highly recommended experience. 

THE CRIPPLE OF INISHMAAN  at the Cort Theatre

(Seen April 23, 2014)

This revival of Martin McDonagh's anguishly funny comedy comes to New York with a truly ensemble cast.  Under Michael Grandage's perceptive direction, this nine-character company (starring Daniel Radcliffe) brings out the humor and the pathos of these assorted village regulars.

While Radcliffe is the reason and the focus of this revival, it is to everyone's credit that there is no grandstanding to impede our belief and acceptance of the events and the varied characters.  It is a first-rate production.

HEDWIG AND THE ANGRY INCH at the Belasco Theatre

(Seen April 19, 2014)

One outlandish star, Neil Patrick Harris, creates a wonderful and memorable character in this revival of a long-ago, off-Broadway cultish musical.  The talents Harris displayed as the host of the Tony Awards shows, are expanded as he romps through this, demonstrating that he is a most impressive actor/singer/dancer!  

This is the story of a transgender whose botched operation leaves him/her physically incomplete   The "angry inch" refers to the remains of his penis, as well as the name of his Band.

First embodied by John Cameron Mitchell in the original play and follow-up film, Harris now makes the role his own.  Although basically a one-person vehicle, he is most ably supported by Lena Hall and the four musicians who comprise THE ANGRY INCH band.  

Director Michael Mayer has successfully guided this show to its impressive transition and fruition on the Broadway stage.

(As another example of what goes into the making of a Broadway production, some 20 producers are listed above the title of the show!)

OF MICE AND MEN at the Longacre Theatre

(Seen April 18, 2014)

 

When it comes to John Steinbeck's  OF MICE AND MEN,  I have to admit that I have a bias.  I have been on intimate terms with the play (and novel) since 1957 --- when I wrote the book and lyrics for a musical version.  I was fortunate enough to meet with Steinbeck on a number of occasions, and still have a four-page letter he wrote me about his visions of the four leading characters --- George, Lennie, Curley's Wife, and Candy.

I think Steinbeck wrote a wonderful play about the lives and frustrations faced by his characters in their struggles to find a better life.  But like Burns' "best laid plans" and Shakespeare's "how all things do conspire against us", it just wasn't meant to be! 

I think director Anna Shapiro has missed an opportunity to make this production into a wrenching experience for her audience, as well as for her competent cast.

I found Chris Dowd's interpretation  of the simple-minded Lennie both superficial and caricature-ish, with a  pseudo-California accent and exaggerated gestures.  True, the play is melodramatic, but there are many true moments and levels of reality that have been missed.  

Because of that lack, my attention was called to minor things which I might not have noticed if I was emotionally involved in the action.  So maybe I'm nit-picking.  Ed Norton's Candy is too robust for the character;  and the apparent decision not to give him some prosthetic for his missing hand by having him hide his hand under a long-sleeved shirt, doesn't work ---especially when he open the bunk-house door with his missing hand!

And Shapiro loses some "ooh, aah" moments by having Lennie's new pup as a prop rather than a puppy. And her staging of the murder, when Lennie accidently breaks Curley's Wife's neck while trying to keep her quiet, seems like a love scene gone astray!  

We are given little motivation for George to personally kill Lennie before the posse finds him.  Candy's regret at letting someone else kill his beloved dog, is replayed here for George to have to do it himself.

And in the final moments of the play, she has George back-up across the stage to fire the pistol at Lennie -- breaking the bond the two characters have with one another,  in their final moments when Lennie visualizes his dream of a place of their own.  

LADY DAY AT EMERSON'S BAR & GRILL 

at the Circle In The Square Theatre

(Seen April 17, 2014)

Audra McDonald is back on Broadway, this time embodying the soul and voice and tragedy of Billie Holiday  (in what will surely gain her a Tony nomination --- she is a five-time winner!).

This is basically a one-person show --- although the jazz trio backing her and playing before her appearance are all excellent musicians.  While McDonald gives a virtuoso performance, I miss the structure that would have made this play by Lanie Robertson more of a play than merely an extended  concert.

Director Lonny Price has guided McDonald with a sure hand, ably showing Holiday's descent into despair, anger, frustration --- all leading to her untimely death from drugs and alcohol.

BULLETS OVER BROADWAY at the St. James Theatre

(Seen April 16, 2014)

The characters and the situations seem to hew to the Woody Allen movie from which this musical was adapted.  And the very capable cast follows director Susan Stroman's briskly-paced action.  

It is a story of a cerebral playwright who compromises his principles in order to get his play produced on Broadway.  Add to this that the producer is a ruthless comic gangster who wants his "moll" to have a leading role, despite her obvious acting shortcomings.

The situation is reminiscent of the 'B' movies of the '20s and '30s  -- as well as a very funny play called BREAKING LEGS.

Despite many misgivings, it is an entertaining vehicle for the personable and talented cast.  Vocally, Karen Ziemba, Marin Mazzie, and Betsy Wolfe stand out from the large featured cast --- all of whom are in top form.

While Nick Cordero and Helena Yorke turn their caricature characters into fine portrayals, I am troubled by Zach Braff making the playwright into a Woody Allen nebish.  

I had some problems with the orchestrations  which often  made the well-known songs of the '20s into more stylized pieces, sometimes hiding  their original phrasing.  And some of Stroman's excellent dances at times seemed superfluous for the situations, interfering with the normal flow of action.

The audience, however, seemed to relish every moment, with the loudest approval for Nick Cordero. 

THE REALISTIC JONESES at the Lyceum Theatre

(Seen April 15, 2014)

Toni Collette, Michael C. Hall, Tracey Lett and Marisa Tomei play the two Jones' families, next-door neighbors living in a small town in the shadow of some mountains.  They each have secrets in their lives, some of which we learn.  

There is a lot of clever and quirky dialogue as their lives unravel --- but the non-sequitur,  disjointed talk goes nowhere.  The play is missing structure and development as we learn some tid-bits of who they are.  But since we only get to know them superficially, we don't really care about them.

Clever repartee doesn't add up to a play.  Will Eno's script short-changes his versatile, personable and accomplished cast. 

LES MISERABLES at the Imperial Theatre

(Seen April 8, 2014)

In this current revival the music soars, the people shout, and the singers triumphantly reach their epic notes --- and the audience is loud and ecstatic in its enthusiastic responses.

The score is still effective, despite  its' lack of variety in the various melodies, because it gives the singers the opportunity to show off the range of their voices.

The vocal renditions by Ramin Karimoo (Jean Valjean). Will Swenson (Javert), and Kyle Scatliffe (Enjolras) are particularly impressive, but the voices of all the principals are to be complimented --- Cassie Levy (Fantine), Samantha Hill (Cosette), Vicki K. James (Eponine), and Andy Mientus (Marius).  And Cliff Saunders' comic/threatening turn as the Master of the House is inventive and noteworthy. 

Whatever the score lacks musically is overshadowed by the entire company's spirit and talents.

THE GLASS MENAGERIE at the Booth Theatre

Somehow this current revival has managed to hide Tennessee William's wonderful lyric poetry.  This fine drama floats on strange islands (literally) of activity under John Tiffany's direction.

His emphasis on Tom's sexuality is a plus factor in Zachary Quinto's portrayal of a lost soul struggling and  trying to leave his mundane life behind him --- which is not possible in this beautiful memory play.

Cherry Jone's overbearing Amanda is somewhat emotionless, while Celia Keenan-Bolgar captures Laura's vulnerability and unease.  The welcome surprise is Brian J. Smith's embodiment of the Gentleman Caller --- he brings a fresh drive to his sensitive and caring portrayal.