Wednesday, May 19, 2010
Monday, May 03, 2010
GIN & IT
Review coming soon of GIN & IT playing at the Performance Space 122 in New York!
It is a performance piece about the Alfred Hitchcock movie ROPE.
It's hard to describe but awesome to watch.
Catch it now--you will NOT be disappointed!
It is a performance piece about the Alfred Hitchcock movie ROPE.
It's hard to describe but awesome to watch.
Catch it now--you will NOT be disappointed!
Wednesday, April 21, 2010
Monday, January 11, 2010
BROADWAY ON CD
GLORY DAYS
music and lyrics by Nick Blaemire
book by James Gardiner
Ghostlight Records
So much can happen in one night.
Such is the concept behind GLORY DAYS, which debuted and closed in one night in 2008. Listening to the CD, it is easy to appreciate why the producers were excited about launching the production on the Great White Way - the musical is the perfect antidote to the exhausting parade of both movies-turned-musicals and over-the-top visual extravaganzas.
Unfortunately, it is also easy to understand how a cavernous theatre could swallow the intimate production, portrayed with refreshing reality by its four actors - Steven Booth, Andrew C. Hall, Adam Halpin, and Jesse JP Johnson.
The score - penned with heartbreaking honesty by Nick Blaemire - introduces us to four best buddies who reunite after their freshman year in college. We hear them struggle as they resist or accept change and face maturating and accepting life as it is and not how they wish it to be.
Fortunately, this slice-of-life avoids stilted and forced dialogue as many musicals before it have suffered; the friends' verbal exchanges are credible and accessible.
Hopefully, this charming musical will be re-discovered so it can enjoy more than one night of glory. B
music and lyrics by Nick Blaemire
book by James Gardiner
Ghostlight Records
So much can happen in one night.
Such is the concept behind GLORY DAYS, which debuted and closed in one night in 2008. Listening to the CD, it is easy to appreciate why the producers were excited about launching the production on the Great White Way - the musical is the perfect antidote to the exhausting parade of both movies-turned-musicals and over-the-top visual extravaganzas.
Unfortunately, it is also easy to understand how a cavernous theatre could swallow the intimate production, portrayed with refreshing reality by its four actors - Steven Booth, Andrew C. Hall, Adam Halpin, and Jesse JP Johnson.
The score - penned with heartbreaking honesty by Nick Blaemire - introduces us to four best buddies who reunite after their freshman year in college. We hear them struggle as they resist or accept change and face maturating and accepting life as it is and not how they wish it to be.
Fortunately, this slice-of-life avoids stilted and forced dialogue as many musicals before it have suffered; the friends' verbal exchanges are credible and accessible.
Hopefully, this charming musical will be re-discovered so it can enjoy more than one night of glory. B
Thursday, January 07, 2010
Monday, October 26, 2009
Wednesday, May 13, 2009
Light Shines on This Grey Garden!
GREY GARDENS @ The Lyric Stage, Boston MA
Director Spiro Veloudos has proven again how much can be accomplished in such an intimate space. He provided an up-close and personal look into the lives of Big & Little Edie while showing us how vast and empty their estate and lives were. Leigh Barrett was outstanding in the challenging leading roles, and the rest of the cast kept up with her. The production flowed effortlessly with grace and ease. It was humorous and tragic but never became corny or trite. A marvelous production of an extraordinary musical.
Grade: A
Director Spiro Veloudos has proven again how much can be accomplished in such an intimate space. He provided an up-close and personal look into the lives of Big & Little Edie while showing us how vast and empty their estate and lives were. Leigh Barrett was outstanding in the challenging leading roles, and the rest of the cast kept up with her. The production flowed effortlessly with grace and ease. It was humorous and tragic but never became corny or trite. A marvelous production of an extraordinary musical.
Grade: A
Thursday, May 07, 2009
JERRY SPRINGER: THE OPERA
During Act One of JERRY SPRINGER: THE OPERA, this pundit recalled Carol
Burnett talking about the "Mama's Family" skits from her
variety show. She has admitted that not one joke was written into any of
their sketches. For the most part, the same can be said for Speakeasy's
most bold and daring production to date. It truly is one of the most
over-the-top and hilarious shows one could ever see, but not as uproarious
as one might expect...thankfully.
Expert director Paul Daigneault has always been capable of discovering the
moments within the larger moment, and he makes no exception here. With
assistance from a stellar book and score, he paces the show with proper
ebb and flow so the audience is not bombarded with intense mania.
Yes, the audience erupts into manic laughter, but not at what the "guests"
are saying, but in the juxtaposition of it all: the highest form of art
showcasing the lowest form of entertainment. There is much humor in
hearing gorgeous, classically-trained singers shooting out naughty
language.
However, it is not long before Daigneault unveils the point of the entire show. Underneath the damaged goods lie an abundance of yearning and longing. What television has exposed as "trailer trash" and "losers," JERRY SPRINGER: THE OPERA reveals as humans and everyday-people searching for a place in life. And, if they find love or
self-love along the way, that's a bonus. This is apparent in the numbers
"I Wanna Sing Something Beautiful" and "I Just Wanna Dance" performed with
heart-breaking reality by Kerry A. Dowling and Joelle Lurie, respectively.
Ariana Valdes anchors the first act in a performance both tragic and funny
as Baby Jane.
To their credits, the entire ensemble is outstanding and bring to their parts their own vulnerabilities.
Yes, it is Act Two that has many people worked up into a lather, and
possibly rightfully so due to Religious references. This show is not intended for those who are easily offended or hyper-sensitive (but I went away). However, Timothy John Smith, arguably the show's strongest performer, allows us in, and we all learn a
little bit more about ourselves and each other than we had expected.
Grade: A
Burnett talking about the "Mama's Family" skits from her
variety show. She has admitted that not one joke was written into any of
their sketches. For the most part, the same can be said for Speakeasy's
most bold and daring production to date. It truly is one of the most
over-the-top and hilarious shows one could ever see, but not as uproarious
as one might expect...thankfully.
Expert director Paul Daigneault has always been capable of discovering the
moments within the larger moment, and he makes no exception here. With
assistance from a stellar book and score, he paces the show with proper
ebb and flow so the audience is not bombarded with intense mania.
Yes, the audience erupts into manic laughter, but not at what the "guests"
are saying, but in the juxtaposition of it all: the highest form of art
showcasing the lowest form of entertainment. There is much humor in
hearing gorgeous, classically-trained singers shooting out naughty
language.
However, it is not long before Daigneault unveils the point of the entire show. Underneath the damaged goods lie an abundance of yearning and longing. What television has exposed as "trailer trash" and "losers," JERRY SPRINGER: THE OPERA reveals as humans and everyday-people searching for a place in life. And, if they find love or
self-love along the way, that's a bonus. This is apparent in the numbers
"I Wanna Sing Something Beautiful" and "I Just Wanna Dance" performed with
heart-breaking reality by Kerry A. Dowling and Joelle Lurie, respectively.
Ariana Valdes anchors the first act in a performance both tragic and funny
as Baby Jane.
To their credits, the entire ensemble is outstanding and bring to their parts their own vulnerabilities.
Yes, it is Act Two that has many people worked up into a lather, and
possibly rightfully so due to Religious references. This show is not intended for those who are easily offended or hyper-sensitive (but I went away). However, Timothy John Smith, arguably the show's strongest performer, allows us in, and we all learn a
little bit more about ourselves and each other than we had expected.
Grade: A
Thursday, February 26, 2009
Monday, February 23, 2009
Friday, February 20, 2009
Thursday, February 19, 2009
Dirty Duncing
The current tour of “Dirty Dancing: The Classic Story On Stage,” or what not to do when re-creating one medium to another.
There is a difference between a “transfer” and a “transplant.” The former is when a piece of art is adapted from movie to stage, and there is some effort involved. What works in a movie does not necessarily work on stage. This is Basic Theatre 101.
The latter is when the movie is literally dumped onto a stage. Virtually word for word. Step by agonizing step. And it does not work.
Eleanor Bergstein wrote a very good script for the movie with several lines both iconic and significant, and, no, the one about putting Baby in a corner does not top the list.
Baby’s introduction “…it never occurred me to mind” spoke volumes in the movie, but on stage, Amanda Leigh Cobb (Baby) sounded like she was introducing herself at the beginning of “A Chorus Line.” “My name is Baby, and I was born in…” She was also defending herself against the relentless, vociferous music with its hammering bass line. She fared well as an actress, but was not directed to fully complete her transformation. Merely applying make-up and dressing differently do not equate finding oneself and commencing the growing-up process.
With Josef Brown as Johnny, we went from the ruggedness of Patrick Swayze to Brown’s pretty-boy musculature. Not necessarily an insult since he is a good dancer, but it would have been more satisfying to see him perform original choreography rather than mirroring that of the film’s. And if the actor hails from Australia, fine. Let Johnny originate from Australia. That would have been more acceptable than listening to a dude raised on the streets of New York but sports an Aussie accent, Mate.
Brita Lazenga as Penny was one heck of a dancer with rubber bones and legs that extended to the ceiling, and her material at least allowed her to execute some dramatic texture, but, alas, she was underutilized in Act Two.
The more frosting, the less there is cake. The complicated and complex set obviously masked the fact that the material was below standards. Just because someone was on a bridge in the movie does not mean we needed to see the tautological movements of the hydraulics, which were less exciting and more exhausting. Projected images were an insult to the audience: we got it. They were at a camp. We didn’t need to see movies of cabins and the lake. As if the projected images of the dancers (while they were dancing) were not distracting enough, it did not help that ten couples performed ten different dances, so the audience had no idea where to look. Even Baby and Johnny withdrew into the discombobulating mess. For the record, the dancers were quite good, or at least they appeared to be.
The final confrontation between Baby and her father lacked immediacy and urgency because instead of arguing at the table, Dr. H. needed to go to his chair, as in the movie. He and the chair rotated on the turntable. And Baby followed him. And she ambled on the turntable. By the time they argued, we forgot why.
All this for a chair.
The projected images of the water behind him were completely distracting and not required.
And the log needed to descend from Stage Right. Completely and languidly. And finally Baby and Johnny arrived. It would have been more fluid had the log entered on one side, while the actors entered on the other. This is called a Transition. A Transition is a change from one scene to the next, and this production suffered agonizingly sluggish ones.
Lisa’s comical Hawaiian song was cute in the movie because we caught the second half of it and were spared the first half. In this production, she dragged out the entire unfunny song. We were embarrassed for her.
The projected images of the field and water while Baby was learning the lift were unattractive.
Even the climactic blink-and-you’ll-miss-it lift was, well, anticlimactic. This was due to the fact that the paint-by-numbers finale was unnecessarily laborious.
The production clocked in at just about three hours, and this pundit felt and heard every second.
22 years ago, the phrase “Dirty Dancing” was impressively metaphoric for both Baby’s maturation process and one’s exploration of the forbidden. Both concepts were defenestrated last night. And defenestrated quite well. The only thing dirty about last night’s performance was the fact that a buck was spent to make a buck, and the producers are expecting audiences to spend $150 to applaud familiarity.
Grade: D-
There is a difference between a “transfer” and a “transplant.” The former is when a piece of art is adapted from movie to stage, and there is some effort involved. What works in a movie does not necessarily work on stage. This is Basic Theatre 101.
The latter is when the movie is literally dumped onto a stage. Virtually word for word. Step by agonizing step. And it does not work.
Eleanor Bergstein wrote a very good script for the movie with several lines both iconic and significant, and, no, the one about putting Baby in a corner does not top the list.
Baby’s introduction “…it never occurred me to mind” spoke volumes in the movie, but on stage, Amanda Leigh Cobb (Baby) sounded like she was introducing herself at the beginning of “A Chorus Line.” “My name is Baby, and I was born in…” She was also defending herself against the relentless, vociferous music with its hammering bass line. She fared well as an actress, but was not directed to fully complete her transformation. Merely applying make-up and dressing differently do not equate finding oneself and commencing the growing-up process.
With Josef Brown as Johnny, we went from the ruggedness of Patrick Swayze to Brown’s pretty-boy musculature. Not necessarily an insult since he is a good dancer, but it would have been more satisfying to see him perform original choreography rather than mirroring that of the film’s. And if the actor hails from Australia, fine. Let Johnny originate from Australia. That would have been more acceptable than listening to a dude raised on the streets of New York but sports an Aussie accent, Mate.
Brita Lazenga as Penny was one heck of a dancer with rubber bones and legs that extended to the ceiling, and her material at least allowed her to execute some dramatic texture, but, alas, she was underutilized in Act Two.
The more frosting, the less there is cake. The complicated and complex set obviously masked the fact that the material was below standards. Just because someone was on a bridge in the movie does not mean we needed to see the tautological movements of the hydraulics, which were less exciting and more exhausting. Projected images were an insult to the audience: we got it. They were at a camp. We didn’t need to see movies of cabins and the lake. As if the projected images of the dancers (while they were dancing) were not distracting enough, it did not help that ten couples performed ten different dances, so the audience had no idea where to look. Even Baby and Johnny withdrew into the discombobulating mess. For the record, the dancers were quite good, or at least they appeared to be.
The final confrontation between Baby and her father lacked immediacy and urgency because instead of arguing at the table, Dr. H. needed to go to his chair, as in the movie. He and the chair rotated on the turntable. And Baby followed him. And she ambled on the turntable. By the time they argued, we forgot why.
All this for a chair.
The projected images of the water behind him were completely distracting and not required.
And the log needed to descend from Stage Right. Completely and languidly. And finally Baby and Johnny arrived. It would have been more fluid had the log entered on one side, while the actors entered on the other. This is called a Transition. A Transition is a change from one scene to the next, and this production suffered agonizingly sluggish ones.
Lisa’s comical Hawaiian song was cute in the movie because we caught the second half of it and were spared the first half. In this production, she dragged out the entire unfunny song. We were embarrassed for her.
The projected images of the field and water while Baby was learning the lift were unattractive.
Even the climactic blink-and-you’ll-miss-it lift was, well, anticlimactic. This was due to the fact that the paint-by-numbers finale was unnecessarily laborious.
The production clocked in at just about three hours, and this pundit felt and heard every second.
22 years ago, the phrase “Dirty Dancing” was impressively metaphoric for both Baby’s maturation process and one’s exploration of the forbidden. Both concepts were defenestrated last night. And defenestrated quite well. The only thing dirty about last night’s performance was the fact that a buck was spent to make a buck, and the producers are expecting audiences to spend $150 to applaud familiarity.
Grade: D-
Tuesday, November 25, 2008
Monday, August 25, 2008
Random Thought 51
There are two types of people...
1: those who want to do everything
2: those who think they have to do everything.
1: those who want to do everything
2: those who think they have to do everything.
Friday, June 13, 2008
NSMT MAKES CONTACT -- ALMOST
Welcome to the abstract, surreal world of CONTACT, originally done by Susan Stroman. Director/Choreographer Tome Cousin does a great job of re-creating and re-staging Stroman's choreography; the ensemble is a pleasure to watch.
Part 1 was effective and fun with the sexy servant, fun-loving Girl-On-Swing, and silly Aristocrat. Kudos to them for putting a swing on the NSMT stage, and kudos to Sean Ewing for his impressive acrobatics.
Part 2 was saved by Sally Mae Dunn as "wife" whose acting and dancing abilities effectively carried the act. Unfortunately, Cousin decided to focus on finding some humor in the situation to lighten the mood. The scene would have been stronger if he had focused on the dramatic texture and emotional devastion it had required. No one should laugh during that scene. But the dancing was fantastic.
Part 3 fared better thanks to handsome Jarrod Emick whose emotional arc reached everyone in the audience. Cousin did some nice effects with movement and lighting. Examples include the "Walk/Don't Walk" and "Simply Irresistable" segments. If he could have brought the scene to a stronger emotional level, the sharp, snappy dancing would have created more of an impact.
With her sick extensions, Naomi Hubert as Girl In The Yellow Dress was nothing shy of phenomenal.
Yes, go see CONTACT for the dancing and the emotions it evokes. ALL of the characters were attempting to make contact with someone, and this musical is a reminder that throughout the ages we are all reaching out to someone, and this is what good theatre should do.
Grade: B
Part 1 was effective and fun with the sexy servant, fun-loving Girl-On-Swing, and silly Aristocrat. Kudos to them for putting a swing on the NSMT stage, and kudos to Sean Ewing for his impressive acrobatics.
Part 2 was saved by Sally Mae Dunn as "wife" whose acting and dancing abilities effectively carried the act. Unfortunately, Cousin decided to focus on finding some humor in the situation to lighten the mood. The scene would have been stronger if he had focused on the dramatic texture and emotional devastion it had required. No one should laugh during that scene. But the dancing was fantastic.
Part 3 fared better thanks to handsome Jarrod Emick whose emotional arc reached everyone in the audience. Cousin did some nice effects with movement and lighting. Examples include the "Walk/Don't Walk" and "Simply Irresistable" segments. If he could have brought the scene to a stronger emotional level, the sharp, snappy dancing would have created more of an impact.
With her sick extensions, Naomi Hubert as Girl In The Yellow Dress was nothing shy of phenomenal.
Yes, go see CONTACT for the dancing and the emotions it evokes. ALL of the characters were attempting to make contact with someone, and this musical is a reminder that throughout the ages we are all reaching out to someone, and this is what good theatre should do.
Grade: B
Friday, May 16, 2008
Not Quite Springtime for Hitler
First-time director was last seen @ NSMT's disastrous production of
CABARET, and he clearly learned nothing. Rule #1 in an arena theatre --
please address all patrons. Although we were located in Section B seeing
the sides of everyone, my heart went out to our fellow audience members
who were forced to see everyone's backsides for over two laborious hours.
This was an ambitious project with a daunting legacy for him to tackle,
and it should have been handed over to someone more experienced.
Max was amiable enough but lacked the intensity to sustain this character.
By the middle of Act Two, it was clear that he had run out of steam. Leo
fared better, maintaining a solid and consistent character throughout.
Ulla had a good character and a nice singing voice but lacked oompf. When
she announced that she would "belt," she needed to do so.
Franz, Robert, and Carmen were a joy to watch and made "Keep it Gay"
everything it should be.
As a matter of fact, Franz was arguably the best part of the production.
And, yes, those cartoonish lockers were ugly and blocked everyone's view
in Section D. There are other ways to create the illusion of chorus girls
popping out of them. The joke about the unattractive girl was thrown away.
The color choices for the office were hideous, and one wondered why Ulla
didn't paint it all white as is scripted.
The costumes were sufficient but unoriginal.
Kudos to the old ladies who brought life and enthusiasm to "Along Came
Bialy." That number looked and worked nicely.
The biggest disappointment of the evening was, sadly, "Springtime for
Hitler." Although everyone made the most of a tiny stage and addressed
everyone in Section F and ignored everyone else, the number overall felt
tired and underwhelming. The climactic swastika looked more like a plus
sign, and without acknowledgement to the audience what this was supposed
to look like, that image was missed. The Tenor had trouble keeping up with
the song, and his voice disappeared several times.
Overall, there were some elements that made the evening enjoyable, but it
seemed amateurish and not up to the level this musical requires. C-
CABARET, and he clearly learned nothing. Rule #1 in an arena theatre --
please address all patrons. Although we were located in Section B seeing
the sides of everyone, my heart went out to our fellow audience members
who were forced to see everyone's backsides for over two laborious hours.
This was an ambitious project with a daunting legacy for him to tackle,
and it should have been handed over to someone more experienced.
Max was amiable enough but lacked the intensity to sustain this character.
By the middle of Act Two, it was clear that he had run out of steam. Leo
fared better, maintaining a solid and consistent character throughout.
Ulla had a good character and a nice singing voice but lacked oompf. When
she announced that she would "belt," she needed to do so.
Franz, Robert, and Carmen were a joy to watch and made "Keep it Gay"
everything it should be.
As a matter of fact, Franz was arguably the best part of the production.
And, yes, those cartoonish lockers were ugly and blocked everyone's view
in Section D. There are other ways to create the illusion of chorus girls
popping out of them. The joke about the unattractive girl was thrown away.
The color choices for the office were hideous, and one wondered why Ulla
didn't paint it all white as is scripted.
The costumes were sufficient but unoriginal.
Kudos to the old ladies who brought life and enthusiasm to "Along Came
Bialy." That number looked and worked nicely.
The biggest disappointment of the evening was, sadly, "Springtime for
Hitler." Although everyone made the most of a tiny stage and addressed
everyone in Section F and ignored everyone else, the number overall felt
tired and underwhelming. The climactic swastika looked more like a plus
sign, and without acknowledgement to the audience what this was supposed
to look like, that image was missed. The Tenor had trouble keeping up with
the song, and his voice disappeared several times.
Overall, there were some elements that made the evening enjoyable, but it
seemed amateurish and not up to the level this musical requires. C-
Wednesday, November 07, 2007
Random Thought 50
You will not be happy with what you will receive unless you are happy with what you now have.
Tuesday, October 30, 2007
Broadway on CD
IN THE HEIGHTS
Lin-Manuel Miranda is not only both a friendly & powerful storyteller, but he knows how to write music and lyrics that are contemporary & urban and relevant & powerful. He instantly invites us in to the rich, lush spirit of the community which is perfectly captured here with its sexy hip-hop and Latin influences. In addition to Lin-Manuel, standout performances include Robin De Jesus, Mandy Gonzalez, Karen Olivio, Carlos Gomez, and (of course) Olga Merediz as the neighborhood's Matriarch. The arc of the stories are clear and the overall arc is
deep and moving. A+
XANADU
The season's big surprise hit is accredited to Book writer Douglas Carter Beane, who not only had a ball creating the script, but allows us in on the fun and never leaves us out. Beane takes the material just seriously enough to establish credibility while teetering on the sublime but never going over the top.
As far as the CD is concerned, credit is given to Music Director Eric Stern who has known all along that the strength of the material lies in the songs. Though the orchestra is stripped to about five musicians, and the cast exists of twelve performers, listeners are not void of talent or quality.
Kerry Butler is adorable as Kira, the muse who comes to rescue Sonny, portrayed to perfection by Cheyenne Jackson. This Broadway stud proves that he can not only sing, dance, and act, but can rollerskate as well! Tony Roberts adds sweet affection to "Whenever You're Away From Me," as Danny and is quite enjoyable when playing Zeus.
The Muses justify an argument for a Tony category for Best Ensemble, buy it's Mary Testa & Jackie Hoffman who stop the show with their hilarious rendition of "Evil Woman."
The place where "nobody dared to go" is now the place where everyone is going! A
YOUNG FRANKENSTEIN
Mel Brooks has devoted much time and attention to his lyrics and music to make sure that we have the best possible time that we can, and this is clear on the CD. What is not clear, however, is a sense of time and place. As impressive as this score sounds, at no point does it offer the listener the comedic gloom that is the set-up.
The first big and surprising disappointment is Roger Bart as Dr. Frankenstein who never establishes a cohesive character. Sutton Foster, known for blowing the ceiling off a theatre with a whisper, barely musters much of anything as Inga. She is shockingly subdued and bland.
Faring better are Megan Mulally & Andrea Martin who both have created interesting characters and maintain humorous vocal qualities throughout. Shuler Hensley is surprisingly unfunny as he mumbles his way through Act Two's "Puttin' On The Ritz," but by the sounds of it, Susan Stroman has just secured another nomination for choreography.
Perhaps this show is better seen than heard. Well, that remains to be seen. C-
GREASE
Aside from having cheap, carnival-flavored orchestrations, this latest
revival lacks both identity and character. Max Crumm makes an affable
Danny, but Laura Osnes offers him nothing to work with except a shrill
soprano. The bass line in "Greased Lightning" is imprssive; "Freddy, My
Love" is nice, but the fun stops there. The ensemble sounds like the most
bored group of teenagers in history. "American Idol" did not exist in the
1950s, so it is puzzling why everyone is holding onto their notes as if
their lives depended on it, especially in bleak "Those Magic Changes" and
the horrible "Mooning." Nothing on this soundtrack remotely resembles the
sound of the decade, and it is a shame because Kathleen Marshall is better
than this. But, good for them because at $75 for the cheap seats, much
money will be made on this unfortunate revival. D.
THE LITTLE MERMAID
While quality, original productions like In The Heights and Passing Strange struggle to find their voices on Broadway, the Disney Machine continues to pump out recycled versions of already successful, enjoyable cartoons. The latest to take the plunge is Mermaid, which had the promises of being a good Broadway musical - once upon a time.
But, alas, me maties, alas.
First of all, Tritan and Ursala should not be written as brother and sister. Ick.
Second of all, ten new songs written for the stage is nice, but - 1. none of the songs further the story, and 2. none of the new songs blend in with the existing ones.
Also, does EVERYONE need to have a song? The only one spared a tune of his own is poor Flounder, and as humorous as Scuttle is, "Human Stuff" and "Positoovity" make the action ebb rather than flow. The Mersisters' 50s-flavored "She's In Love" sounds like a Grease drop-out, and "Sweet Child" by Flotsam & Jetsam is sour.
King Triton comes across as more evil than care-giving, but let's talk about Ursala. Sherie Renee Scott is terribly talented but terribly miscast as Ursala. She would have fared better as an Ariel. Her opening number "I Want the Good the Times Back" is less villianous and more vaudeville, and "Poor Unfortunate Souls" lacks all the delicious menacing flavor it should have.
Sebastian is void of the rugged characterizations associated with the part, and Prince Eric sings the obligatory handsome-leading-man-torch song with a gorgeous voice. However, it might have been more interesting had he been offered an other verse of "Part of Your World" to provide an ironic touch.
To be fair, Sierra Boggess make a delightful Ariel, and her hopeful poignancy makes "Part of Your World" worthy of a Tony nomination. Okay, so she gives up her voice, but it's a shame that the title character of a musical swims on 2 full songs
out of 29.
So, The Little Mermaid, tanks, drowns, plunges, and ebbs. Let's sit back and wait for Enchanted-The Musical. D-.
SUNDAY IN THE PARK WITH GEORGE
There is really not much to say here, except that Daniel Evans is a wonderful George and Jenna Russell is a terrific Dot. The chemistry between them is impressive, and the orchestrations are excellent.
The process of combining chaos and control while creating art comes through loud and clear. This is an enjoyable listening of an intelligent revival. A
Lin-Manuel Miranda is not only both a friendly & powerful storyteller, but he knows how to write music and lyrics that are contemporary & urban and relevant & powerful. He instantly invites us in to the rich, lush spirit of the community which is perfectly captured here with its sexy hip-hop and Latin influences. In addition to Lin-Manuel, standout performances include Robin De Jesus, Mandy Gonzalez, Karen Olivio, Carlos Gomez, and (of course) Olga Merediz as the neighborhood's Matriarch. The arc of the stories are clear and the overall arc is
deep and moving. A+
XANADU
The season's big surprise hit is accredited to Book writer Douglas Carter Beane, who not only had a ball creating the script, but allows us in on the fun and never leaves us out. Beane takes the material just seriously enough to establish credibility while teetering on the sublime but never going over the top.
As far as the CD is concerned, credit is given to Music Director Eric Stern who has known all along that the strength of the material lies in the songs. Though the orchestra is stripped to about five musicians, and the cast exists of twelve performers, listeners are not void of talent or quality.
Kerry Butler is adorable as Kira, the muse who comes to rescue Sonny, portrayed to perfection by Cheyenne Jackson. This Broadway stud proves that he can not only sing, dance, and act, but can rollerskate as well! Tony Roberts adds sweet affection to "Whenever You're Away From Me," as Danny and is quite enjoyable when playing Zeus.
The Muses justify an argument for a Tony category for Best Ensemble, buy it's Mary Testa & Jackie Hoffman who stop the show with their hilarious rendition of "Evil Woman."
The place where "nobody dared to go" is now the place where everyone is going! A
YOUNG FRANKENSTEIN
Mel Brooks has devoted much time and attention to his lyrics and music to make sure that we have the best possible time that we can, and this is clear on the CD. What is not clear, however, is a sense of time and place. As impressive as this score sounds, at no point does it offer the listener the comedic gloom that is the set-up.
The first big and surprising disappointment is Roger Bart as Dr. Frankenstein who never establishes a cohesive character. Sutton Foster, known for blowing the ceiling off a theatre with a whisper, barely musters much of anything as Inga. She is shockingly subdued and bland.
Faring better are Megan Mulally & Andrea Martin who both have created interesting characters and maintain humorous vocal qualities throughout. Shuler Hensley is surprisingly unfunny as he mumbles his way through Act Two's "Puttin' On The Ritz," but by the sounds of it, Susan Stroman has just secured another nomination for choreography.
Perhaps this show is better seen than heard. Well, that remains to be seen. C-
GREASE
Aside from having cheap, carnival-flavored orchestrations, this latest
revival lacks both identity and character. Max Crumm makes an affable
Danny, but Laura Osnes offers him nothing to work with except a shrill
soprano. The bass line in "Greased Lightning" is imprssive; "Freddy, My
Love" is nice, but the fun stops there. The ensemble sounds like the most
bored group of teenagers in history. "American Idol" did not exist in the
1950s, so it is puzzling why everyone is holding onto their notes as if
their lives depended on it, especially in bleak "Those Magic Changes" and
the horrible "Mooning." Nothing on this soundtrack remotely resembles the
sound of the decade, and it is a shame because Kathleen Marshall is better
than this. But, good for them because at $75 for the cheap seats, much
money will be made on this unfortunate revival. D.
THE LITTLE MERMAID
While quality, original productions like In The Heights and Passing Strange struggle to find their voices on Broadway, the Disney Machine continues to pump out recycled versions of already successful, enjoyable cartoons. The latest to take the plunge is Mermaid, which had the promises of being a good Broadway musical - once upon a time.
But, alas, me maties, alas.
First of all, Tritan and Ursala should not be written as brother and sister. Ick.
Second of all, ten new songs written for the stage is nice, but - 1. none of the songs further the story, and 2. none of the new songs blend in with the existing ones.
Also, does EVERYONE need to have a song? The only one spared a tune of his own is poor Flounder, and as humorous as Scuttle is, "Human Stuff" and "Positoovity" make the action ebb rather than flow. The Mersisters' 50s-flavored "She's In Love" sounds like a Grease drop-out, and "Sweet Child" by Flotsam & Jetsam is sour.
King Triton comes across as more evil than care-giving, but let's talk about Ursala. Sherie Renee Scott is terribly talented but terribly miscast as Ursala. She would have fared better as an Ariel. Her opening number "I Want the Good the Times Back" is less villianous and more vaudeville, and "Poor Unfortunate Souls" lacks all the delicious menacing flavor it should have.
Sebastian is void of the rugged characterizations associated with the part, and Prince Eric sings the obligatory handsome-leading-man-torch song with a gorgeous voice. However, it might have been more interesting had he been offered an other verse of "Part of Your World" to provide an ironic touch.
To be fair, Sierra Boggess make a delightful Ariel, and her hopeful poignancy makes "Part of Your World" worthy of a Tony nomination. Okay, so she gives up her voice, but it's a shame that the title character of a musical swims on 2 full songs
out of 29.
So, The Little Mermaid, tanks, drowns, plunges, and ebbs. Let's sit back and wait for Enchanted-The Musical. D-.
SUNDAY IN THE PARK WITH GEORGE
There is really not much to say here, except that Daniel Evans is a wonderful George and Jenna Russell is a terrific Dot. The chemistry between them is impressive, and the orchestrations are excellent.
The process of combining chaos and control while creating art comes through loud and clear. This is an enjoyable listening of an intelligent revival. A
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