Beauty and the Beast (NETworks non-Equity tour) Review March 31, 2012
Posted by ronannarbor in Broadway Tour, musical theater, Musicals, Theatre.Tags: Beauty and the Beast musical, Beauty and the Beast tour, NETworks
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It is the rare non-Equity tour that I review here. but NETworks production of Disney’s BEAUTY AND THE BEAST has landed at the Stranahan Theater in Toledo, and this same company will be at the Fisher Theater in Detroit next week. The show is charming, but overall this is a mixed-bag production.
Note that this is NOT the original Disney tour with its stunning sets and costumes, but a completely re-designed version of the show that has its own charm, while missing the mark at some points.
The very hard-working cast, led by fresh Emily Behny as Belle and versatile Dane Agostinis as Beast, work hard to bring out the charm in what really is a lovely Disney script and score. There’s a bit too much slapstick and prat-falling by Logan Denninghoff’s Gaston and his comic foil Andrew Kruep’s Lefou. They are very good singer/actors stuck with some bad direction from Rob Roth. The rest of the cast are good in their respective roles, and give it 110% the entire 2 and a half hours. Yep, you heard right — the 2:20 show runs 2:30 here — some of that attributed to pauses and slapstick moments that grind the entire production to a halt for stretches at a time.
The requisite moments are lovely — “Be Our Guest” and “Beauty and the Beast” radiate warmth and fun. The dance break in Gaston is masterly with clanking tankards and precision choreography by Matt West. But in my eyes, the “big moment” that most Broadway theater goers will remember from the original production was when the massive castle wall swung toward the audience and the Beast, alone in a starlit night atop a massive granite wall, sang “If I Can’t Love Her” — a theater moment that had many an adult eye tearing up at its sheer beauty. That doesn’t happen here. Stanley A. Meyer’s sparse open-frame metalwork platforms are too minimal to provide the grandeur needed in these sets, no matter how many pretty twinkling candles are flickering in their midst. It rotates. The stars come out. And you never once forget that you are looking at a stylized chunk of metal and hoping that Beast doesn’t lean against the railing with too much weight.
In another annoyance, there is a “sampler” type stitched background for the village-based scenes. Its colorful and clutters the stage so that even the lovely village homes and other pieces disappear into that clutter. It bothers me for another reason as well. I don’t recall American Sewing Samplers to be a staple of the French region in which the musical is based.
Its almost unfathomable to believe that Beast has been touring for (gulp) 17 years now. It’s a nice look at Disney book-driven story-telling, and the completely sold-out run at the Stranahan is a reminder of the need for this type of entertainment. Good thing Disney’s new Newsies is a hit — the world needs more family entertainment like this, and Disney knows how to make that happen. Too bad NETworks skimps on the details.
In a final note: SPOILED CHILDREN ALERT — I don’t know who to be angrier with — the 3-year old who sat behind me who talked through the entire production, or her mother, who kept answering all the kids questions and never once told her to shut up, no matter how many people tried to shush them. At best, they stayed quiet for a five-minute span while mother was shoving goldfish crackers and sippy-juice cartons in her mouth. For Heavens sake, if your child can’t sit still for an hour at a stretch, then they do not belong in a theater house of a Broadway tour yet. Enough said.
Superb cast in Encore’s GODSPELL (review) March 31, 2012
Posted by ronannarbor in Ann Arbor, Broadway Musicals, musical theater, Musicals, Theatre.Tags: Dan Cooney, Encore Musical Theatre Company, Godspell, Godspell musical
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GODSPELL arrived at the Encore Musical Theatre Company in Dexter last night, and it is a tribute to director Dan Cooney and his superb cast and musicians that this production ranks right up there among the best, and in some ways superior to the current Broadway production.
This is an earthy revival of the show — and its 70′s roots shine through only momentarily as it runs its fleet two-hour course through many of the parables found in the book of Matthew. Trimming some of the fat; re-ephasizing portions of the show often left to be the dreck that they are; and finding some truly brilliant moments in it all (take the vaudeville quarter-size dancing body puppets as one of those examples), Cooney has brought his own spin to the material, and it all works very well on Encore’s stage (here transformed into a dilapidating old theater by stage designer Leo Babcock).
Let me be the first to say that if you asked my opinion on the ten musicals that rank among the worst ever written that have somehow managed to make it into the popular repertoire, Godspell is one of them. That being said, this production manages to avoid most of the pitfalls usually associated with the show: gone is the opening mumbo-jumbo philosophy section; gone are the ridiculous hand puppets; gone is the glitter and confetti and (thank God) the clown outfits.
Rusty Mewha both acts and sings with brio here as Jesus — in fact, his range just continues to grow and grow in the many shows I have now seen him perform in. Brian Thibault performs a solid Judas. The remainder of the cast is sublime — Brian E. Buckner not only performs but also plays piano in the ensemble; Keith Kalinowski shines in each of his numbers; Sonja Marquis and Amy Smidebush sing to the rafters; Angela Kay Miller and Fatima Poggi hit all the right notes in their various ensemble duties; Charles Lindsay is an angelic-voiced Lamar; and Tara Tomcsik delivers the evenings funniest lines and routines (her tap-dancing opening to Act II is both hilarious and demonstrates masterful control of overblown and very funny tap steps).
As the show works its way through Vaudeville; Grand Opera; Westerns: Gangster Flicks; and even a bit of A Chorus Line, the parables are clearly delineated stories, and I must say, Cooney has done a fine job of making sure that they are understandable and defined (something that can not be said of the energetic but bombastic current Broadway revival). Barb Cullen’s choreography matches the styles perfectly and blends nicely between movement and stage action. It bears repeating how glad I was that the hand-puppets are nowhere to be seen.
There was an opening night glitch when the voluminous stage smoke effect in Act II set off the building’s fire alarm. The cast didn’t miss a beat and worked their way through a portion of the show with the whining alarm in the background — and it says something that the audience sat raptly involved in the whole thing to the point where the alarm itself was barely discernible.
But this night belonged to Cooney and his cast. They are magnificent.
GODSPELL continues at the Encore Musical Theatre Company through April 22. Tickets are available at www.theencoretheatre.org or the box office at 3126 Broad Street, Dexter, MI 734-268-6200
Newsies, Ghost, Evita, and Once musicals on Broadway (Review) March 22, 2012
Posted by ronannarbor in Broadway Musicals, Entertainment, musical theater, Musicals, Theatre.Tags: Evita 2012 revival, Ghost the musical, Newsies the musical, Once the musical
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Ah — Winter/Spring in NYC — 75 degrees in mid-march, and some hot shows heating up the Great White Way as well…Let me preface this by saying that only ONCE has officially opened — NEWSIES (opening next week), GHOST, and EVITA are still in previews. That being said, these shows aren’t going to change significantly between now and opening, so they are reviewed herein.
Let’s start with my favorite show in years: Disney’s NEWSIES. Jumping, leaping, dancing, and exploding across the stage of the Nederlander Theater, Newsies is sure to settle in for a long open-ended run (currently booking through August 19th). To put it quite simply, I haven’t been this thoroughly entertained by a musical theater piece since I can remember.
Jeremy Jordan (Bonnie & Clyde, Joyful Noise) leads an energetic and superb singing/dancing ensemble of newsboys in a musical crusade against Pulitzer and his plot to increase income by charging the newsies more per paper, leading to a strike. Throw in equal parts reporter as love interest (Kara Lindsay – as superb here as she was in the tour of Little House on the Prairie), badguy (John Dossett as Pulitzer who sings the one song that should be cut before opening) and showgirl (Capathia Jenkins)…have them all stirred up on Tobin Ost’s excellent tri-tower moving set; and you have the makings of a cocktail that goes down easily, and leaves you wanting to see the show again. Which is most likely exactly what Disney is aiming for here.
Jordan turns in a great performance as Jack Kelly. Andrew Keenan-Bolger turns in a warm performance as injured Crutchie; and the entire boys ensemble just shines. You’ll also find mixed into the lot previous So You Think You Can Dance finalists Evan Kasprzak and Thayne Jasperson; and up and rising dancer Ryan Steele.
But the real star of the show is Christopher Gattelli’s choreography which is classically Broadway and electrically athletic at the same time, without ever losing its classic ballet and modern dance core. It’s simply spectacular — and by the time the boys have exploded in duets, trios, and perfectly in-sync combinations midway through “Seize the Day”, your heart will completely be won over by this marvelous musical. By all means get your tickets now.
ONCE the musical which opened this past weekend, is a smart, cute, and charming show at the Bernard B. Jacobs Theatre. It has opened to almost unanimous positive reviews, so who am I to say that I was less than enthralled by the entire thing? It’s a well-done drama with music, based on the off-beat indie film from a few years ago. Steve Kazee ( Guy) and Cristin Milioti (Girl) are marvelous in their roles which explore the subtle nature of love, healing, and re-connection.
The ensemble cast plays all of the other roles, and also play the musical instruments for the show (Who knew Andy Taylor could play Viola?). They are excellent. The musical numbers are about as “heavenly” as you can get and still keep your feet on the ground.
But therein lies my quip. This is more of a play with music than it is a fully-realized musical theater piece. At times, there are long stretches of dialogue and character development with na’ary a song to be heard for long stretches at a time. And when that story can’t hold your interest, it’s a struggle between the excellent musical numbers, and the long-drawn-out storytelling. I’ll be the first to admit that I really have no interest in small love stories, so right from the getgo I was in trouble here. Despite the rave reviews from the media, the audience reaction was somewhat more subdued. It got its obligatory standing ovation, but plenty of buzz by people heading out of the theater that it was less than fulfilling. Get there early, and you can enjoy a cocktail on stage and mingle with the band, who play Irish songs and set the tone for the show.
That’s not to say Once is not high quality. it is. But it shows its downtown off-Broadway roots throughout — and in a large proscenium theater the enitre affair seemed a bit distancing. Notwithstanding my own opinion, it is the clear frontrunner for Best Musical this season.
EVITA returns in a glamorous production at the Marquis Theatre. The star here is Elena Roger, Argentinian actress recreating her role from the West End (2006). But the obvious ticket-selling draw is Ricky Martin, judging by the audience reaction and age.
The piece is slightly reworked from it’s original run, and includes some additional dance music, and the song “You Must Love Me’, written for the movie, and now incorporated into most productions of the show. What is more than significantly changed is the set design — here, fully realized mansions, courtyards, interiors and exteriors with windows that open and shut, large portions of which glide forward, backward, and side to side. At some point you actually start wondering where it all fits. Thanks to a friend working on the show, I got a backstage tour after my matinee performance, and it’s quite astounding what goes on behind the scenes at this show.
Elena Roger is excellent in the role of Eva Peron, and from her first appearance its clear to see why she won every award there was to win for the West End production. Be careful when ordering tickets as her alternate Christina DeCicco performs at Wed evening and Sat mat performances. I am sure she is good, but the theatrical draw here is Ms Roger.
The ticket-selling draw is obviously Ricky Martin as Che, who turns in a very good performance in line with the Antonio Banderas interpretation of the part: gone are the sneers and angry snide remarks from the original production — instead, Che here is an everyman-observer. It works very well, although the impact of “Waltz for Eva and Che” is lessened in Act II as the two have no adversarial relationship, nor have they interacted directly in any previous scene. All is well in musical land though, as just a few moments later, her “You Must Love Me” brings down the house.
Overall, this is a very good production, and most likely the Best Revival winner in the coming season’s Tony awards.
Finally, the more problematic, but jawdroppingly entertaining musical GHOST has taken possession of the Lunt-Fontanne Theatre right across the street from Ms. Peron. This show is clearly in preview mode, and some of the bells and whistles still need to be worked out, but it was a clear audience pleaser.
The cast is excellent, starting with clear-voiced Richard Fleeshman (Sam) and Caissee Levy (Molly) as our star-crossed lovers who suffer loss and find love after death. Bryce Pinkham plays smarmy friend Carl.You’ve seen the movie; you know the story; and its pretty much intact here with some very minor changes.
But what makes this show tick is Rob Howell’s brilliant design; Jon Driscoll’s eye-popping video projection design; and Paul Kieve’s jaw-dropping magical illusions that create miraculous things like Sam walking through doors; levitation; bodies dying on stage and instantly appearing on the other side of the stage watching it all happen; and in the most dazzling effect of all, Sam appearing and dissolving into nowhere in the show’s final sequence. Frankly, the book, music, and lyrics are all secondary to the special effects and stage design in this show — and it is honestly the first production I would recommend merely for the stage design alone making it worth the price of attendance.
Some parts of the show still need some work: it’s a time-proven piece that has been running in the West End for two years — but it still has a bit of West End edge to it that needs to be better Americanized in some areas (slapstick doesn’t work in some of the sequences for American audiences, where it works well in London). There is at least once song that needs to go. But overall, it’s a show that lingers quite pleasantly afterwards.
Ghost is a much much better show than it has any right to be. With some work, it can turn into one of the surprise hits of the season. I was enormously entertained, even while feeling a dissonance that I shouldn’t be enjoying the show as much as I was — and yet I did, and I do recommend it.
So there you have it — this spring’s rundown of musicals. Not reviewed: Leap of Faith, and Nice Work if you can Get It, which do not begin previews until April.
“Bring It On, the musical” tour (review), Chicago March 11, 2012
Posted by ronannarbor in Broadway Musicals, Broadway Tour, musical theater, Musicals, Theatre.Tags: Bring It On the musical, Broadway in Chicago
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BRING IT ON, the new musical now on tour across North America aiming for Broadway is, in short. a very good musical waiting for a great musical to emerge. Seen at a Saturday Matinee at Chicago’s Cadillac Palace (the closest the show is coming to the area), the musical is none-the-less a standing-ovation, sold-out-house hit at the venue, and I have to admit, I and my theater partners had a great time.
Starring University of Michigan student Taylor Louderman, the cast is exceptional — in fact, they are better than the source material throughout. Most of the young (and hot) cast are on stage the entire two and a half hours. Comprised of Broadway veterans and a lot of new talent (much of it from the cheerleading/dance team/gymnastics circuits) the show concerns two rival cheerleading squads heading to regionals, and then nationals.
Any resemblance to the movie version of Bring It On stops at the name of the show and characters. This productions has an original book that combines equal parts Footloose, Legally Blonde, and every other teenage musical you have ever seen. It also borrows generously from All About Eve. The libretto is by Jeff Whitty (Avenue Q), the Music by Tom Kitt (Next to Normal) and Lin-Manuel Miranda (In The Heights), and Lyrics by Miranda and Amanda Green (High Fidelity). The score is strong. The book needs a little tightening in Act I, but in all reality, from the moment the show leaves lily-white Truman High and heads to rival more-diverse Jackson High, the show takes flight (and often stays there, 20 feet off the ground).
The entire cast is energized by Andy Blankenbuehler’s direction and choreography. Let me come clean right here — I was a university cheerleader, and the moves and routines in this production are genuine, accurate, and well-adapted into musical numbers. The aerials (sometimes more than 20 feet in height) are higher than regulation of course, but they are breath-taking on stage. Otherwise, it pretty much represents what it is.
Co-billed with cheerleader Louderman (as Campbell) is the superb Adrienne Warren, as tough-girl-with-a-heart-of-gold Danielle. Also worthy of attention is overweight Bridget (an exquisite Ryann Redmond) and uberbitch Eva (Elle McLemore). The men have less interesting roles (but much more to do). Charisma-free Jason Gotay needs to be replaced pre-Broadway as Randall. But watch the ensemble — for example Dahlston Delgado (himself a multi-award winner in cheering) is in virtually almost every scene. The other men and women of the ensemble change costumes as quickly as possible to become various members of the rival squads.
The set design by David Korins seamlessly integrates video, and the Lighting Design by Jason Lyons is eye-popping. The entire production is designed to move as quickly and as energetically as the performers on stage – often integrating live stage movement with video and screen movement across the stage. A particularly nice effect is the ticking countdown clock on-stage that merrily blinks to life 6:38 before the top of the show and counts down to the very first scene with dazzling effect — the crowd actually counts down the seconds during the last half minute, and it’s an exciting effect at 0:00 — in another brilliant example, one of the actors lets out an outraged scream up stage left and the video screens and lighting take it from there as the animated scream travels in concentric circles across the various elements of the set. Brilliant work.
So — here’s the scoop. The show does need some work prior to Broadway, in particular in giving the first half hour of the show a speed-pill to zip the action along; granted it’s used to introduce characters, but they are so paper-thin here that not that much exposition is required to get the ball rolling. The current effect is in essence that the first 25 minutes or so kind-of follows the original movie version of Bring It On; and then it suddenly veers off into its own delerious universe and never references the original again…so why start there?…
Second — this score is terrific. It really is. What isn’t so great is the constant interruption of Lin-Manuel Miranda’s rap into the songs, where exposition and a lyrical line would work better. Sure, its designed to offset the suburban school from the urban school, but it doesn’t work. The hiphop numbers themselves are excellent. Where rap was used to define specific character traits in In the Heights, here it just gets in the way and makes the whole thing feel fake. I suppose this is where my own bias comes into play, since I hate rap.
Finally, the script needs to give Louderman’s Campbell a touch more of heart. Kirsten Dunst in the movie had it to spare, and it made you feel something when the rival teams go at it in the climactic final sequence. Here, it’s a rather dull finish to what has been a fast race to the Nationals.
But let me conclude by saying that this show is virtually critic-proof. It has a built-in fan base already, and the rowdy, cheering, screaming teenagers at the performance I saw are probably indicative of the general reception this show will have nationwide and eventually on Broadway — Give the audience some funny characters to laugh at; some brilliant dance routines to cheer for; and some fine-looking technology to back it all up, and your target audience will eat this show up for years.
For more information, and tour schedule, see http://www.bringitonmusical.com/
Season’s first must-see musical: Grey Gardens at Ann Arbor Civic Theatre March 9, 2012
Posted by ronannarbor in Ann Arbor, Broadway Musicals, musical theater, Musicals, Theatre.1 comment so far
Ann Arbor has its first must-see musical of the season — and it is brought to you by way of Ann Arbor Civic Theatre and their production of GREY GARDENS at the Arthur Miller Theater at the University of Michigan.
In a mesmerizing star-turn as Edith Beale/Little Edie Kathy Waugh turns on the charm and vocal highlights necessary for this very difficult dual-role and it is spectacular. You can’t keep your eyes off of her. Matching her blow-for-blow in Act II, Laurie Atwood plays the now-aged Edith Beale with both humor and pity so essential to this piece.
Under the direction of Edmond Reynolds, the remainder of the cast is generally strong — Thalia Schramm as Young Little Edie is particularly good; Sebastian Gerstner both charming and catty as George Gould Strong, and Charles Sutherland steady and able as Major Bouvier. The rest of the cast is comprised of Christopher Joseph (as Brooks Sr and Jr); Maeve Donovan and Audrey Wright as the Bouvier children; and Kevin Douglas Jr as Joe Kennedy and Jerry.
A true standout here is the superb orchestra work, under the direction of Tyler Driskill and a virtual who’s-who of Ann Arbor musicians in the 11-piece ensemble. It’s one of the strongest orchestras I have heard locally for a musical, professional or otherwise.
There is the rare stumble that reminds you that this is not professional theater — Leo Babcock’s well-designed set is sloppily painted; there are a few light cues that take a bit too long; and the costume design is hit-and-miss, especially a particularly glaring gaff in Young Edie’s engagement dress, which my theater partner last night turned to me and said “should be burned immediately”.
There are other things that make you sit back in surprise that this is indeed community theater: the lighting design by Tiff Crutchfield is sharp and the use of the haze system to make the light beams pop at the beginning of Act II something you rarely see at the amateur level; the sound design by Bob Skon is exceptional. The set dressings and props by Brenda Casher and Martha Montoye are spot-on. Stephanie Buck and Heather Wing supply beautiful wigs and hairstyles; and Rachel Francisco’s choreography is fun and character-driven.
But that brings me back to Kathy Waugh. Go see this show.
GREY GARDENS continues at the Arthur Miller Theater on North Campus through Sunday March 11th. Tickets are available at a2ct.org. As with all shows at the Arthur Miller, let this serve as warning: parking is not plentiful and there is a parking charge. Get there early, as seating is general admission, but mostly because parking is not sufficient and you might have a long walk to the theater from elsewhere on North Campus if the lot is full by the time you arrive.
Godspell comes to the Encore Musical Theatre Company in Dexter March 8, 2012
Posted by ronannarbor in Ann Arbor, musical theater, Musicals, Theatre.add a comment
The cast of Godspell is hard at work at The Encore Musical Theatre Company in Dexter!
With music and new lyrics by Stephan Schwartz (composer of Wicked, and Pippin), Godspell is one of the biggest off-Broadway and Broadway successes of all time, with the song “Day by Day” reaching #13 on the 1972 Pop Billboard Chart.
Based on the Gospel according to St. Matthew, and featuring a sparkling score, Godspell boasts a string of well-loved songs, led by the international hit, “Day By Day.” As the cast performs “Prepare Ye the Way of the Lord,” “Learn Your Lessons Well,” “All For The Best,” “All Good Gifts,” “Turn Back, O Man” and “By My Side,” the parables of Jesus Christ come humanly and hearteningly to life. Drawing from various theatrical traditions, such as clowning, pantomime, charades, acrobatics, and vaudeville, Godspell is a groundbreaking and unique reflection on the life of Jesus, with a message of kindness, tolerance and love. This production is directed by Encore co-founder and Broadway actor Daniel C. Cooney, music directed by Brian E. Buckner, and choreographed by Encore favorite, Barbara Cullen.
This fantastic cast of local professional Equity and non-Equity actors include: Rusty Mewha (Jesus), Brian Thibault (Judas), and an ensemble of Brian E. Buckner, Keith Kalinowski, Charles Lindsay, Sonja Marquis, Angela Kay Miller, Fatima Poggi, Amy Smidebush, and Tara Tomcsik.
Patrons who attend the official opening night of Godspell on Friday, March 30th, are invited to attend the Opening Night After Glow with the cast and crew of the show. Complimentary hors d’ oeuvres will be provided, as well as a cash bar!
Tickets for all performances are on sale now, and may be purchased by stopping in, calling our box office, or visiting our website.
The Encore Musical Theatre Company, 3126 Broad Street, Dexter, MI, 48130 (734)268-6200
Box Office Hours: Monday through Friday, 2pm to 6pm.
Performance Dates: Thursday, March 29th – Sunday, April 22nd , 2012
“Noises Off” – University of Michigan Theatre – is hilarious fun (review) February 19, 2012
Posted by ronannarbor in Ann Arbor, Theatre.Tags: hilarious play, John Neville-Andrews, Noises Off, UM Noises Off, University of Michigan Theatre and Drama
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Okay, so its not the first time you have probably seen Michael Frayn’s “Noises Off” in Ann Arbor (it makes regular appearances on our various stages)– but its by far the best production you’ll see, thanks to John Neville-Andrews hilarious staging currently on-stage at the Lydia Mendelssohn Theater, presented by the University of Michigan, Department of Theatre and Drama.
Comprised of student performers, and guest performer Equity actress Naz Edwards, the farce flies by in what seems much shorter time than it’s 2 hour 40 minute running time might otherwise suggest. In three acts, the first sets the stage at the final rehearsal of a British farce “Nothing On” pre-tour (in the best insider joke in the show, the actors don’t know if it’s a dress rehearsal or a tech rehearsal); the second Act takes place during a performance a week into the run from the vantage point of backstage as personal relationships begin to unravel and the sight gags start to fly fast and furious; and Act Three seven weeks into the tour, from the audience vantage point, as the show has started to unravel. It’s tremendous fun and this is a five-star production.
Naz Edwards turns in a pitch perfect Dotty Otley, preparing plates of sardines and forgetting blocking for important props (like the phone). Reed Campbell plays overwrought director Lloyd Dallas, and his meltdowns are a joy to behold. Philip Maxwell and Sophie Hindley play Garry and Brooke, the couple around which the pending sex-farce revolves. Maxwell’s physical comedy is grand, and exchange student Hindley is simply marvelous in (and out) of clothing, She is the funniest Brooke I have ever seen play the part, and every single blocking motion is wrong. What makes it even funnier, is that when things are falling apart 7 weeks into the tour, her blocking remains identical to that at final dress. Shannon Eagen plays peppy “Poppy” with a sense of self-knowingness; and Casey Hanley brings a warmth and hilarity to trouser-dropping Frederick. A pants-dropped hop up the long staircase earns well-deserved applause. The same voyage down those same steps later by Maxwell tripping over a misplaced box earns him the “Dick Van Dyke” physical comedy award for this production. Stage manager and Assistant stage manager are played well by Zoe Kanters and Eric Krawczyk, and old-man Selsdon is well-acted by Avery DiUbaldo (never an easy feat for a young student to play an aging character on stage — carried off here with great skill.)
John Neville-Andrews keeps the action moving swiftly. This is a very difficult show to direct and this production is a Neville-Andrews masterwork of slamming doors, perfectly timed sight-gags, and some brilliant personal touches. He does a particularly good job with the women in this production, never allowing them to disappear into the background which can happen with this show. Those who have never seen the show before (hard to imagine in Ann Arbor, but obviously the case from some of the blank reactions of the senior older folks sitting around me) might need a second viewing to take it all in. Gary Decker’s set is terrific (and the backstage view marvelous). Katelyn Rouse’s costumes look great, and Andrew Lott’s lighting design looks clean and crisp both onstage, backstage, and offstage – in particular when the set revolves and the occasional glimpses of the show “onstage” shine through the central window from “backstage” without ever losing focus on the action backstage.
Finally — do not bypass the program insert — a hilarious spoof of the program for “Nothing On”. There, you will learn that “Cinemagoers saw Brooke in The Girl in Room 14, where she played the Girl in Room 312″, and that Selsdon had “several good supporting roles in Hollywood, including stand-in to Robert Newton”. Hilarious stuff that — and the funniest evening I have had at any theater in years.
Slick “Smokey Joe’s Cafe”, Encore Musical Theatre Company (review) February 5, 2012
Posted by ronannarbor in Detroit, musical theater, Musicals, Theatre.Tags: Encore Musical Theatre Company, Lieber and Stoller, Smokey Joe's Cafe
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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
Broadway Reviews – Bonnie & Clyde; On a Clear Day; Follies; Lysistrata Jones; War Horse December 19, 2011
Posted by ronannarbor in Broadway Musicals, musical theater, Musicals, Theatre.Tags: Bernadette Peters, Bonnie & Clyde musical, Follies, Harry Connick Jr., Jeremy Jordan, Laura Osnes, Lysistrata Jones, On A Clear Day You Can See Forever, War Horse Broadway, WIldhorn
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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
Posted by ronannarbor in Broadway Musicals, Broadway Tour, musical theater, Musicals, Theatre.Tags: A Christmas Story the musical
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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.
