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Slick “Smokey Joe’s Cafe”, Encore Musical Theatre Company (review) February 5, 2012

Posted by ronannarbor in Detroit, musical theater, Musicals, Theatre.
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This is a good news-bad news review. Before I go further, let me just say that the very talented cast in Encore’s SMOKEY JOE’S CAFE sings well, dances well, and has stage presence to spare. The set looks great. The lighting right on target. The band sounds great. So what goes wrong?

Well…nothing that Encore could do about it, besides maybe pick a better show. I’m not a fan of revues, and that is what Smokey Joe is…two hours of Lieber and Stoller songs in a hodgepodge revue that has no storyline and which resorts to lights-down-lights-up scene changes for transitions. And not all of those songs are good. In fact, many of them are not.

It’s all sort of like watching a cruise ship show — no, it’s exactly like watching a cruise ship show — slick; well done; but ultimately unsatisfying as you head out of the theater and back to the ship’s casino.

The very talented ensemble cast sing, dance, and work very hard to please. It’s hard to single out any exceptions, so let me just say that the (entirely non-equity) cast is composed of Brian E. Buckner, Steve DeBruyne, Sebastian Gerstner, Cara Manor, Terrence D. Owens, Jr., Fatima Poggi, Thalia Shramm, and Amy Smidebush. Mysteriously missing is the 9th cast member the show is written for.

Most of the show glides along just great, with solos, combos and group numbers that feature each cast member individually, as well as in boy and girl groups. Missing is any sense of who these people are, except for very broad strokes that don’t hold as the show progresses. Might as well be variety show numbers following one after the other. I had that same sense after seeing the Broadway production (which inexplicably ran almost 5 years in the 90′s), so it’s not the fault of the hard-working folks at Encore. Some numbers work better than others: “Jailhouse Rock” and “Stand By Me” smolder….while “On Broadway” falls flat, not only because of the over-involved choreography, but also because the vocal mix just doesn’t work (it didn’t work on Broadway either, where it looked like the guys were going to swallow their body mics).

But that’s another thing — if ever a show calls out for body mics, it’s Smokey Joe. Soloists here are sometimes overwhelmed by the (offstage) band, and at other times by their own cast mates. They all sound great, and the blend is very good — but you lose the soloists entirely in places.

Leo Babcock has designed a dandy set with two sweeping curved staircases. Sharon Larkey Urick’s costumes are serviceable without ever really evoking the 50′s or early 60′s. Matthew Tomich’s lighting design is generally spot on (except in one instance where beautifully spot-lit Steve and Thalia are suddenly aglow in full stage brightness that made my pupils spin).

All in all, I would always prefer a book musical (although Encore’s upcoming season of community theater type fare doesn’t make me want to run and buy tickets to any of them), but Smokey Joe’s Cafe is a well-done, well-produced musical revue. In her program note, Barbara F. Cullen states that the show is “so much more than a musical revue”. I beg to differ, and would actually say its the worst kind of musical revue – the type that has nothing but musical numbers and very little heart. That is not to slight this production which is top notch, but exactly what you would expect of a production of this show.

Smokey Joe’s Cafe continues at the Encore Musical Theatre Company through February 26th, 3126 Broad Street, Dexter, MI 734-268-6200 or www.theencoretheatre.org

Surprise! To fix “The Addams Family” musical get rid of Nathan Lane (review – tour – Wharton Center, East Lansing) February 4, 2012

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When I originally reviewed The Addams Family musical, I was among the minority that enjoyed it a lot. Now on tour it’s a much better show, and its not just because the script has been reworked.

The tour, currently passing through East Lansing at the Wharton Center, is significantly different from the show seen in pre-Broadway Chicago, and from a design standpoint very different from the Broadway Rubik’s Cube set that assembled and re-assembled itself in fulll view of the audience. It’s passable, but not as good design-wise.

But from an acting point of view its stunningly different, and who would have thought that getting rid of Nathan Lane would make such a huge difference — but it does. Douglas Sills makes for a superb Gomez, while Sara Gettelfinger holds her own as Morticia. The rest of the tour cast is excellent, and its a virtual who’s who of University of Michigan musical theater graduates.

I’m not sure why Broadway never warmed to the musical (although it did run 725 performances and 34 previews despite generally lackluster reviews). It’s funny, it’s tuneful, and the characters are outrageous. There’s a funny book (even if it is a direct rip-off of La Cage aux Folles), and plenty of topical references to keep you on your toes, and it’s all fun. Clearly, Broadway is not currently in the mood for fun — but audiences sure are, as witnessed at both performances I have see.

But, wow — let me get back to Douglas Sills — where Nathan Lane dropped lines, dropped his accent throughout the show, and generally mugged-it-up, Doug has a natural humor; a great voice; and no need to mug — the part plays itself, and he makes the most of his lithe body and quick facial expressions to change the character completely from what Lane brought (did not bring) to the part. There is also chemistry between he and Sara as Morticia, something that Lane never achieved with Bebe Neuwirth. Sills performance completely changes the entire feeling of the show, and the cast responds remarkably.

Are there problems — well, yeah. Besides the aforementioned dumbing-down of the set, there is the ongoing problem of an ensemble chorus that doesn’t do a heck of a lot but hover around in the background as ghosts. Nothing has been changed more from the original Chicago production than the use of the Ensemble, and I am not sure it is any type of improvement. A sequence in which they hide behind cutout trees is just embarrassing.

But those who have not seen The Addams Family will enjoy the show – all the small things that make it such a fun night out are still there (including the curtain tassel that falls off the act curtain and runs away). You could do a lot worse than to spend a few hours with this hilarious family.

Will America buy “Smash”? – NBC – Pilot episode (review) January 18, 2012

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Your going to love it or your going to hate it, but there isn’t anyone that will be able to say that SMASH isn’t slick, well-produced, and professional when it comes to musical numbers. It’s no GLEE (thankfully); but will America buy into a show about creating a Broadway show?

In the pilot episode, (to air February 6th), Debra Messing and Christian Borle play musical theater writers/composers/lyricists of a new Broadway musical based on the life of Marilyn Monroe. Those of us of a certain age will remember there actually WAS a Broadway flop musical in the 80′s called Marilyn: A Musical Fable (which Frank Rich called “incoherent to the point of being loony”). That flop is referenced here in passing by Messing’s husband, played by Brian d’Arcy James. He’s the biggest Broadway star in the show – here delegated to a thankless non-singing character.

WIthout having written a script, and with only a song to demo, they somehow get picked up by producer Anjelica Huston, who may or may not have enough money to produce the show. But she’s in it to get back at her in-process divorce from her husband, another Broadway producer. Within the first 15 minutes of the pilot, they suddenly have three songs and a draft of the script (um, yeah)….and by the midway point, they are auditioning director/choreographer Jack Davenport (yes, that Jack Davenport, who has yet to find a suitable role in any U.S. television show — someone please find this man a decent part!) – who is set up to be the antagonist opposite Borle’s writer/composer.

Bring on the auditions — Likable American Idol loser Katharine McPhee and “Wicked” veteran Megan Hilty step up to fill the bill as two actresses competing for the part of Marilyn. Throw in a subplot right out of Dynasty involving director Davenport, and you have the basic makings of SMASH.

The show is designed to follow the workshop development of the show in NYC over the course of the season, and in its climax this spring move to Boston for an out-of-town tryout.

Yes, the show is entertaining. The musical numbers are well-staged, and the use of fantasy sequences to suggest what rehearsal songs might look like “on stage” work well. There is a lot of dancing here, and it is professional and slick, the exact opposite of the haphazard GLEE sequences.

It’s also all overwrought and somehow wrong. Auditioners are not even given three bars of piano-accompanied audition when a full orchestra already sweeps in, as if to say “this is a really big budget show, kinda like Glee, but for adults, so listen and enjoy, and buy our soundtrack.”  I have never in my years of theater ever heard of a producer picking up a show based on one song, and no written script. While there is a casting couch at work on Broadway to be sure, it certainly doesn’t work the way its implied in this show either. Messing seems out of place, and Borle here is reduced to a sniping gay stereotype — so good in Legally Blonde and Angels in America on Broadway, here he’s wasted in a part that virtually falls apart before your eyes.

The show is filled with a virtual whose who of Broadway performers — so watch backgrounds carefully to spot your friends. Most are appearing as line-less studio assistants and errand-boys. A few get to dance and sing.

In short, it’s an entertaining pilot, that should keep theater folks arguing about realities vs exaggerations, while the rest of the country makes a decision as to whether a show about Broadway actors, producers, and creative teams will be interesting enough to viewers to keep this novelty going. I’m going to tune in again — albeit the next night since NBC has very unfortunately decided to put the show on opposite Castle and Hawaii-5-0. I suggest they move it pretty fast if they want to pick up a tv audience. I dunno about you, but most of my theater friends watch Castle at that time, and personally 5-0 has become a guilty pleasure. On Comcast, two shows at a time and that’s it — making no room even to DVR Smash…

A word of warning — if you download and view the pilot (free) on iTunes, please DO NOT watch the “coming season” trailer at the end of the pilot episode. If you watch it carefully, it gives away who will get the role, and how the show will develop. Don’t watch it – it’s already partially ruined it for me…if you want a nice insider snapshot of the show, read the Brian d’Arcy James interview on IMDB – he carefully describes what the development of a Broadway musical is really about, and very carefully avoids talking about the unrealistic elements depicted in Smash.

The show has already created a stir in the NYC Broadway community in forums such as All That Chat, where multithread topics discuss the lack of reality of the creation process depicted here, as well as the shear fact that only one of the auditioners for the Marilyn part is appropriate for the role and there is zero doubt who would get that part in reality. I repeat — DO NOT watch the coming season trailer which gives it away and will cause even more controversy when it is revealed a few episodes into the series.

Will America buy it? There are a lot of theater fans out there — if the show avoids the pitfalls of playing for personal drama instead of the inherent drama in the actual development of a show itself, it might stand a chance. But I bet with NBC’s track record this show will quickly veer off in the wrong direction.

 

 

Broadway Reviews – Bonnie & Clyde; On a Clear Day; Follies; Lysistrata Jones; War Horse December 19, 2011

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Nothing like some Broadway for the holidays!…from the ridiculous to the superb….

Lets go from the worst to the best from this holiday visit:

On a Clear Day You can See Forever, the book-plagued but melody-lush Lerner and Lane musical, stars Harry Connick Jr so it is selling tickets well, despite dismal reviews after opening last week. And those dismal reviews are well-earned.

Director Michael Mayer decided the already terrible book wasn’t good enough, so he had Peter Parnell write an even worse one. In this version, Daisy is replaced by David, an ineffectual gay man who is the reincarnation of 40′s singer bombshell Melinda with whom Psychiatrist Connick Jr falls in love. David (a good David Turner) has a decent boyfriend (Drew Gehling, very good) to whom he has trouble committing, now that he is falling in love with straight Psychiatrist Connick Jr.  The more Psychiatrist Connick Jr. hypnotizes David to get at Melinda (a sublime Jessie Mueller), the more convoluted, unbelievable, and disinteresting it all gets. There are some mind-bogglingly awful costumes provided by Catherine Zuber and some even worse sets designed by Christine Jones — all over-lit by Kevin Adams.

The music is lush and sounds great. In particular Jessie Mueller’s big band numbers bring some life to the proceedings (most of her songs are imported from Lerner and Lane’s movie Royal Wedding) with additional songs imported from the movie version, as if the musical isn’t already too long.

Harry Connick Jr, the clear star around whom this production is built, sings well, moves stiffly, and looks like he would rather be anywhere else but on stage at the St. James Theater. Most likely across the street reprising his own Broadway concert from last season, alas, delegated to Hugh Jackman this winter.  Don’t expect this one to be around past January — so see it now if you must. 2 stars (of 4), and 1 star if it were not for the good leading cast.

By the way — post-show, W 44th Street becomes one of the biggest crowd control problems I have seen in New York in years. Since both shows end at the same time, and huge crowds grow in front of the stagedoors of both Hugh Jackman’s concert across the street, and those awaiting Psychiatrist Connick Jr. The street is blocked off to all traffic, and it’s general chaos. Plan your escape route in advance.

At the end of the block, there is a crowd-control problem of it’s own in Follies at the Marquis Theater.

The ugly poster design for the show should be enough to warn you of what is to come: a sumptiously costumed, overly star-laden adaptation of Sondheim’s Follies. Imported from the Kennedy Center, the show stars bland Ron Raines as Ben (sorry Ron, I know you were my next door neighbor in NYC for years, but its true); the too-old Bernadette Peters as Sally (she gets unintentional laughs when she says “what am I going to do with the rest of my life at the age of 49″); the too-young Danny Burstein as Buddy; and the excellent Jan Maxwell as Phyllis.

Also crammed in are Elaine Paige, not given enough to do; Don Correia (a virtual afterthought); Terri White (in the sole standout number in the show, Whose that Woman); and a handful of other Broadway work horses.

Granted, I have never liked Follies as a show — it’s plotless meanderings are driven by the emotional content of two relationships falling apart. The symbology of “ghosts” floating throughout the dilapidating theater overkill. The parallels to “young” Sally, Ben, Buddy, and Phyllis hitting you over the head throughout. Here, the ghosts are dressed in some of the most glamorous costumes to grace the Broadway stage in many years (Gregg Barnes) — it’s a shame you can’t see them in Natasha Katz’s woefully under-lit design.

It’s all very pretty, and well staged by Eric Schaeffer, but its tired, and ultimately uninvolving. If the cast hasn’t gripped you and caused you to feel something for them, by the time you get to Loveland, the whole thing is just an exercise in stage design. And that’s what you have here. Colorful and bland. 3 out of 4 stars. Worth seeing, if you have the time. It closes at the end of January, so you have another month.

It’s a good season for musicals on both 44th and 45th streets. Down the road, the new Bonnie & Clyde is quickly driving into oblivion (it closes on December 30th).

Now, let me preface this with the statement that I really really liked Bonnie & Clyde, and I am saddened that the producers chose to close it (most likely due to the horrible reviews from the NYTimes and from the WSJ). The audience all seemed to enjoy it too — and the single comment I heard the most at intermission was shock that the show had posted a closing notice.

This is Wildhorn’s strongest score to date; and it has a quartet of very appealing leads in Jeremy Jordan (Clyde); Laura Osnes (Bonnie); Claybourne Elder (Buck) and Melissa Van Der Schyff (Blanche). Jeremy and Laura, in particular, are sexy together, and they bring a level of interest to two characters who could otherwise be seen as quite unsympathetic. You already know how it ends (in fact, it’s made clear in the first measures of the show exactly how it will end), but it’s well written and it reaches its conclusion logically and not without feeling.

Tobin Osts set and costumes are spot-on, and there is generous use of projections by Aaron Rhyne (also well done). Local Encore Artistic Director Dan Cooney is in the Ensemble and is fun in many of the small roles that he plays. In fact, this entire ensemble is terrific.

Closing the show will, however, allow Jeremy Jordan to return to Newsies (opening in March), and look for him to become a major breakout star once his movie Joyful Noise arrives in movie theaters.

There’s an air of “dead-show-walking” when you see a musical knowing it has already posted a notice. But it gives one a good glimpse into how New York critics are currently out of touch with popular theater and audience likes/dislikes. This is a show that in seasons past might have run for months and months. Now, in our economic climate, producers are unwilling to take any risk in the show, and are closing it on December 30th to allow them to take their tax write-offs this spring rather than next. It’s all sad.    3 stars out of 4.

But wait — there’s a surprise in store a few blocks north!

Chalk up another hit for Douglas Carter Beane, who has created the funniest, craziest, and warmest script of the season in adapting Aristophanes Lysistrata to modern-day college basketball players and cheerleaders.

The show has an off-Broadway feel (not surprising, given it’s off-Broadway roots) which is fresh on Broadway. Stylistically, the musical is very similar to Xanadu from a few seasons back. There are a few dirty jokes and some lame “drawings” in which the cheerleaders demonstrate what will be withheld from the men on the basketball team if they don’t win a game (the school has not won a game in 33 years).

The ensemble cast is wonderful top to bottom, and they are clearly having fun. Director/Choreograper Dan Knechtges keeps it all moving at a swift, entertaining pace, and Lewis Flinn has written some genuine tuners. Yep, a musical with a great script, great cast, great music. And despite rave reviews, virtually no audience. I saw it papered by friends. Half the house seemed to be papered. If this one doesn’t pick up some legit paying audience, it’s not going to be around for long. See it now, it’s well worth it.     3 1/2 stars out of 4.

Finally — a visit to New York’s War Horse, at Lincoln Center which I originally saw in London several years ago.

There isn’t much I can add to the many rave reviews that this production has received (including the Tony award for Best Play this spring). Combining some live-action, with amazing puppetry, and whizbang scenic design, the show is even larger in it’s Vivian Beaumont home. It’s hard to imagine this show touring — but there is one in the works for the coming season, so you will be able to see it for yourself soon if you can’t make it to New York.

I’m looking forward to the movie this Christmas (based on the book, not this theatrical version); but there is something about seeing the sheer theater magic take place before your eyes that make this a very special show indeed.  Having seen it twice now, I can tell how the show manipulates the emotions (the tears come in the exact same places night after night); but its so well done that you go with it and you emerge in a somewhat transfixed state. War is hell. People know that. Seen through the eyes of the horses who don’t comprehend but do react to noise, pain, shock, and gunshots, it illuminates the horrors of war in a way that sometimes people alone can not.   4 stars out of 4.

Excellent “A Christmas Story, the musical” – tour (review) November 20, 2011

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Thoroughly surprising, superbly entertaining, and exquisitely designed, A Christmas Story, the musical makes a two week stop at the Fisher Theater in Detroit. And the show is awesome fun. Don’t hesitate and get tickets now before they are gobbled up over the Thanksgiving holiday weekend…

Like the best adaptations, the musical doesn’t just mimic the movie (although the requisite lines and scenes are all there) but expands on it and adds its own layer of musical theater storytelling. With book by Joseph Robinette and Music and Lyrics by Benj Pasek and Justin Paul, it moves swiftly along through its many (23) scenes, and its smoothly and creatively directed by John Rando and choreographed by Warren Carlyle.

Everything looks great on Walt Spangler’s set (halfway through the show, you’ll find yourself wondering where all that stuff fits backstage) and its dressed lovingly in Elizabeth Hope Clancy’s costumes. Set both in 1975 and 1940, the production flows effortlessly between the two eras. Gene Weygandt plays Jean Shepherd narrating a Christmas Eve radio show, with his sidekick foley artist (sound effects) Nick Gaswirth. But it doesn’t stay there — throughout the production Gene/Jean joins the action in the 40′s story that he is narrating, and its an effect that works well throughout the production.

The entire cast is strong (and how thrilling to see so many University of Michigan Musical Theater program alumni involved with this show –from music and lyrics to actors….unless I missed I few, I counted 8 of them)…and adults and kids fare equally well. At my performance, Carl Kimbrough performed Ralphie. I am going back later this week to see Clarke Hallum in the part (yes, I loved the show that much). Rachel Bay Jones creates an excellent mother in a role expanded from the movie, and John Bolton delivers a mesmerizing performance as the father — in a part in which he practically channels the spirit of Paul Lynde in a superb outing. The many kids in the show act, dance (and tap!) their way through many sequences and songs and don’t miss a beat keeping up with the adults in all the fun.

The sole misstep in the production comes at the end, when the clever, ironic, and nod-nod-wink-wink cleverness suddenly dissolves into a couple minutes of holiday-cheer and family-dreck. It’s not off-putting, but it puts a damper on what has come before. Thankfully, it’s followed by a clever and funny curtain call that sends you out of the theater humming. Yes, really. The show has a hummable infectious score that contains a few bonefide new showtune standards. If you want the music on CD, you have to purchase it in the theater lobby, it won’t be released publicly until the fall of 2012.

So, what are you waiting for? Get your tickets before they are gone, and the tour moves on. Hopefully it will be back again next season, because this is a Christmas story that you can see over and over again. Its the first show in years that has toured Detroit pre-Broadway that really deserves to be there next Christmas. See it here first.

Ain’t no doubtin’ you’ll have a good time at Performance Network this holiday season – Ain’t Misbehavin’ (Review) November 19, 2011

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Performance Network has brought Ann Arbor an early Christmas present with their current production of Ain’t Misbehavin’, the Fats Waller musical show.

Winner of the 1978 Tony Award for Best Musical, (it surprisingly beat out On the Twentieth Century, not surprisingly The Act, Dancin’ and Runaways), the show revived musical reviews, and while it has no direct storyline, it follows a group of singers/performers in an after hours club as they sing, complain, flirt, booze it up, and generally have a fun time. The idea is, the audience should have a fun time as well. And they do.

Dan Walker’s excellent set invokes a basement-level nightclub, with band center stage, and some audience seated at cabaret tables on the sides (Note: I would recommend you NOT select the side seats for this production – virtually all action takes place facing front and center).

Darrian Ford, Jennifer Cole, Kron Moore, james Bown, and K. Edmonds comprise the 5-member cast, while Ryan MacKenzie Lewis and his four-piece ensemble can arguably be considered the sixth member (Ryan – piano; Brad Faryniarz – saxaphones; Chris Morelli – bass; Billy Harrington – drums). The entire ensemble swings; there is more energy on stage here than might be needed to light the Christmas lights on Main Street for the holidays.

Yeah, okay, so I can note some minor quibbles about the slightly pitchy vocals on opening night (especially in Act One); but all was well by Act Two (which is better written to begin with). It doesn’t really matter in a show which is well sung, well directed (by Tim Edward Rhoze), and well-choreographed (Robin Wilson).  The hand-built costumes by Suzanne Young are exquisite. Charles Sutherland’s properties help evoke the era; and Mary Cole lights it all prettily, with red, green, and blue gels coming to life in the bigger numbers.

Each of the performers has plenty of opportunity to shine in solos, duets, and ensemble numbers; but its Darrian Ford that explodes across the stage, in particular making “The Viper’s Drag” a standout, as well as his dancing throughout. To be honest, it’s hard to recreate roles so tied to the likes of the larger-than-life Ken Page, Nell Carter, and Andre DeShields…but this cast holds its own in what is ultimately a highly entertaining holiday treat. Fats Wallers music is tuneful, sharp-witted, and often funny.

To be sure, I would rather have seen a book musical in this holiday slot — but Ain’t Misbehavin’ is a sure-footed entertaining evening. It’s the perfect compliment to dinner and drinks before the show in downtown Ann Arbor, so you can make a night (or afternoon) of it. Ask about the Prix Fixe dinner option at The Raven’s Club when making your reservations. Ain’t no doubtin’ you will have a good time.

Obsession at Croswell Opera House a fascinating musical premier (Review, kind of) November 8, 2011

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First, let me say right off the bat, it’s hard to review a workshop of a new show, even if it is fully staged. Because that is exactly what the production of OBSESSION, the musical (loosely based on Frankenstein) was this past weekend at the Croswell Opera House.

Fully staged and realized, the production was a fascinating look at a new musical in progress — originally written as a symphony and presented in Adrian, and now adapted as a stage musical, Betsy and Michael Lackey’s lyrical and tuneful musical takes risks not often seen at the local level. And how fortunate that Croswell Opera House was willing to take that risk to help develop this show.

I am not going to comment too much on the production itself, because if I did, I would end up in a long diatribe about how poorly directed it was, but how lovely it all looked and sounded. Let future directors find the humor and nuance in the script and score, and better manage the stage action.

What I will comment on are the tremendous performances, and the very strong musical score. Top to bottom the cast was top-notch and demonstrated excellent vocal technique. Michael Lackey (Henry/Monster); Eric Parker (Victor); Katy Kujala (Elizabeth); and Mackenzie Dryer (Justine) sang strong, confident roles. Deeply rooted in opera, the score demands a tremendous amount from the cast, and this group of performers delivered.

The score is particularly tuneful and sometimes outright stunning: “What I’d Give” has a lyrical line that ranks with the best Broadway-type pop ballads, but the entire score is lovely to listen to. The lyrics are clever and have a subtle sense of humor (not captured well in this production). The Croswell sound system made it difficult to understand some of the lyrics, particularly in the choral numbers. The show leans more toward the style of “Jekyll and Hyde” than more serious poperettas.

Is the show ready for prime time? No. Is it well on its way, yes. I would love to see the show again, after some tweeks have been made. My own thoughts as to improvements:

- There is too much music; scene changes occur rapidly (seconds) but musical rifts run for minutes with no action on stage. Some of this could be covered with better direction, but there is still too much of it. Standardize scene change music so that it cuts off once the scene has been changed, not continue just for the sake of continuing.

-The Entr’Acte is too long. Pull the main theme, add a countermelody, and roar to a quick finish. Two mintues is great. 5 minutes is too long.

-Eliminate the narration by the lead (Victor). Either incorporate it into the choral numbers, or eliminate it completely. With the exception of one or two short moments where action can be identified otherwise, the narration is superfluous and repetitive.

-Pay attention to the choral action: too many maids and butlers on stage just to sing choral backup is never a good idea. Put the chorus into the orchestra pit and let them sing backup. Find a better way to incorporate your ensemble onstage without just putting them on, and pulling them off. Its getting there –but its not there.

Overall, this was a fascinating and very well performed production that hopefully will lead to the necessary tweaks and future productions. I’d love to listen to this score over and over again, it’s sumptuous. But listening to versus seeing a show are two different things. It needs work, but it shows beyond tremendous potential — it deserves to be fixed and developed. Congrats to all involved — and keep working at this piece: there is really good here. It just needs some TLC.

Dancap announces Toronto Musical Theater Tour Season 2012 October 17, 2011

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Dancap announces their 2012 Musical Theater Touring Season in Toronto — Note that Dancap is the up-and-rising direct competitor to Mirvish Productions. Most of its productions are presented at the stellar Centre for the Performing Arts in North York (nee Ford Centre for the Performing Arts).  Dancap is particularly known for its longterm sitdown productions such as Jersey Boys.

American Idiot – Dec 28, 2011 – Jan 15, 2012, Toronto Centre for the Arts

In The Heights – Feb 7 – 19, Toronto Centre for the Arts

West Side Story – May 8 – June 3, Toronto Centre for the Arts

Shrek The Musical – March 20 -April 1, Toronto Centre for the Arts

Disney’s Beauty and the Beast – July 3 – 22, Four Seasons Centre for the Performing Arts

Million Dollar Quartet – July 20-29, Toronto Centre for the Arts

A Christmas Story, the Musical – December 2012, Sony Centre for the Performing Arts

Hodgepodge from UM, Tigers, Jackson, etc. October 17, 2011

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Yeah, lots going on, and no particular single topic to write on….

Jackson Michigan saw a pretty dandy production of [title of show] this past few weekends. Still waiting for this to have a decent production in the Ann Arbor area now that it’s available royalty-wise. Jackson’s The Fourth Wall presented a critically acclaimed production that hopefully some of you got to see. This is a super show that somehow has just not caught on in the local theater circuit.

University of Michigan musical theater program put on a dandy production of The Full Monty musical which continues this coming weekend. I haven’t reviewed it, not because its undeserving, but because its just one of those shows that doesn’t work as well with a cast of hunky 19 year old boys in the leads, who should be in their 30′s and early 40′s. Not to say that this isn’t a great production — the show looks great, sounds great, and the cast is magnificent (as they should be, given that they are in a professional musical theater training program). But it just didn’t work for me. When Dave complains of being fat and he looks like he weighs about 160 pounds, the realism seeps right out. Mark Esposito’s choreography, however, is something to behold. It’s a great show. Go see it. But unlike the Broadway production, don’t expect to be emotionally moved by it.

The Detroit Tigers had an awesome run of their own, losing in the 6th game of the ALCS to the Texas Rangers. They went much further into the post season than anyone would have thought even a month ago, and they knocked the Yankees out of contention for this year’s title, so they are the darlings of the entire nation right now. Better luck next year, guys, what an awesome run you gave us this year!

UM, as has become usual, folded under MSU’s much better defense; and Denard Robinson just disappeared in a game where he should have been front and center. All for the best, as attention can now be paid to the UM Hockey Team, who are off to a great start for the season, and who have always been nearer and dearer to my heart than the football team will ever be. Go Blue!

Coming up within the next few months?….Ain’t Misbehavin’ at Performance Network, My Fair Lady (tour) at the Fox, Les Miserables (Stranahan, Toledo, tour), Wicked (Detroit Opera House, tour), battling White Christmas’s (tour at the Fox, community theater productions throughout SE Michigan and Ohio – from the Croswell Opera House to Howell), A Christmas Story, the musical at the Fisher (tour), and yet another revision of It’s A Wonderful Life at Encore in Dexter. Busy musical theater season coming up. Look for reviews as we go.

“Jersey Boys” tour as fresh as ever (East Lansing, Wharton Center) Review October 9, 2011

Posted by ronannarbor in Broadway Musicals, Broadway Tour, Entertainment, musical theater.
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Okay, granted, the Wharton Center is a bit late in the game with the Broadway tour of Jersey Boys which has been traveling around the country for years now…but the production currently appearing in East Lansing is as fresh as ever, with a fine cast.

Lead by Joseph Leo Bwarie (in the Frankie Valli role) and a very strong Preston Truman Boyd (as Bob Gaudio), the entire cast looks and sounds terrific (For the record, Michael Lomenda and Matt Bailey round out the quartet). The women are as strong as the men in this cast, and the vocal sound is top notch across the board. In fact, when Frankie Valli and the Four Seasons come to life in their big numbers, they sound better then the REAL Frankie Valli and company. Bravo.

The tour also has the virtue of having to adapt its sound system into hundreds of theaters in the past few years, hence they have it down to an art, and it sounds fantastic in the Wharton Center. No dead spots here. It sounds great.

The audience ate up the show. The cheering, clapping, and shouting start early in the evening, and raise to fever-pitch by show’s end by which time the audience is standing and dancing along.

If you have never seen Jersey Boys, it’s terrific as a show — the music is interwoven into a smart script that never gets too “musical” but never strays far from the roots of theater. The direction and choreography are sharp and work well in both more intimate as well as larger numbers. It’s a show that has found its popularity among those who don’t usually like musical theater. No tap-dancing and magic tricks here. Just pure, theatrical magic.

By all means, go visit these Jersey Boys…the show is as fresh as ever, and that’s saying a lot when its been as well-traveled. To quote Frankie, it just keeps “going and going like the Energizer Bunny”.  You should go see it, too. If you’ve seen it before, you already know how terrific the show is, and this cast will win you over. If you’ve never seen it before, you are in for a treat.

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