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Enthralling and Delightful “Daddy Long Legs” at the Dio Theatre (Review) April 6, 2018

Posted by ronannarbor in musical theater, Musicals.
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The Dio Theatre opened the Michigan premier of the 2015 Off-Broadway musical “Daddy Long Legs” last night and it is delightful and gorgeous, and you can expect to see it all over the local theatre awards later this year.

Beautifully performed by Emily Hadick and Alexander Benoit, with lovely orchestrations under the capable direction of Brian Rose, the musical, based on the early 1900’s book by Jean Webster,  tells the story of “the oldest orphan in the John Gier Home” who unexpectedly gets a full-ride to college by a trustee of the orphanage — under the stipulation that she write him letters about her experiences but that he will not write back. Under the impression that he is an octogenarian and possibly bald, she does just that for four years, unaware that he is the rich handsome stranger that has come into her life through a classmate. ultimately leading to love. Daddy Long Legs refers to her nickname for the trustee, as all she glimpsed before he left was a tall, thin man. 

The story is rich and fulfilling (much like Mark Vukelic’s delicious meal pre-show). Emily Hadick, already having made a name for herself as the lovely Johanna and spunky Hope in Encore’s Sweeney Todd and Anything Goes, is exquisite in every scene and every song. The Dio’s new sound system makes every word important and intelligible, and she invests heart and soul in her role as Jerusha, the orphan student. She can play innocent, and she can play coy, sometimes at the same time, but its all underscored by an intelligence that the audience quickly falls for, and later roots for when things take a turn.

Similarly, Alexander Benoit, with his smooth tenor voice and his good looks makes for a terrific Jervis and his facial expressions give away much of the underlying drama and turmoil, as he wrestles with his own unexpected feelings for Jerusha. He is able to find the comedy in the scenes, and is sometimes left on his own while she sings about her experiences – but you never for a moment, lose the fact that he is absorbed in her letters as his love for her grows.

By the time they meet, the audience is enthralled with both of them – and I don’t think it gives away too much to say that by the time the musical reaches its romantic conclusion that the audience has been charmed and excited going along for this ride.

One of the remarkable things about this very modern musical is that it never loses its early 1900’s look and feel – and the music never turns to pop. It’s a classic musical-theater type score and you might find yourself going to iTunes afterwards to download the cast album. With Music and Lyrics by Paul Gordon and a book by John Caird based on Webster’s novel, you can’t go wrong with a pre-show listen either. Filled with lovely ballads and tuneful songs, I have found myself listening to this musical over and over for many months. I was thrilled to finally see it with its book and storyline on stage.

Everything looks beautiful on Matt Tomich’s V-shaped set which he also lights with stunning colors. Direction by Steve DeBruyne is fluid and makes great use of the angle of the design. He brings out strong emotional ties between Hadick and Benoit, and a scene played atop a hillside is particularly stirring. He is assistant directed by Anne Bauman. Costumes by Norma Polk are beautiful, as are the lovely props assembled by Eileen Obradovich.

You should stop reading this right now, go to diotheatre.com on your computer, and order tickets now because you won’t see a more delightful musical this spring – and it makes for a terrific date-night or family outing.

Very Highest Recommendation.

Daddy Long Legs continues at the Dio Theatre, Pinckney MI through May 20th. Reservations online at diotheatre.com or 517-672-6009.

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A Chorus Line National Tour 2018 (brief review, Fox Theatre Detroit) February 18, 2018

Posted by ronannarbor in Broadway Musicals, Broadway Tour, musical theater, Musicals.
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I only have time for a short review of A CHORUS LINE national tour 2018. Seen at yesterday’s matinee at the Fox Theatre, Detroit — the show is a faithful recreation of the staging and original choreography of the 1975 original Broadway production. It looks good. Sound was bad at the Fox. Dancing was terrific though not all the singers are strong. This is my favorite musical, but it is showing its age. Stagecraft has come a long way since that time, but the first time the mirrors revolve you know this is lovingly recreated. Don’t hesitate to see it – it’s a time capsule back to 1975 Broadway.

The show is doing short runs and one-offs nationwide. Yesterday’s two performances at the Fox were your only chance to see it here locally.

 

 

Great Armstong, Johnson, and Kaminski in “Merrily We Roll Along” – Ringwald (review) February 17, 2018

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There’s a terrific cast romping its way across the (nearly bare) Ringwald stage in their current production of George Furth and Stephen Sondheim’s Merrily We Roll Along (based on the play by Kaufman and Hart). I write this review from the viewpoint of having previously directed a production of this musical myself.

There’s not much to the problematic book: Charlie, Frank, and Mary are friends who meet on a rooftop in NY, become bosom buddies and watch each others mistakes in love, marriage, work, business, and ultimately part ways as bitter adults (all the way in their 40’s!). The catch is, the show runs backwards – starting in the 70’s and ending in the 50’s. It was so confusing for original Broadway audiences that they added sweatshirts with their character names on them and spiffy things like “Past Wife”, “Boss”, “Next wife”. It ran one week. The rewritten show was presented by the York Theatre Company in the early 90’s and that version has become somewhat of a success. The recent London revival of the show was a smash success and was telecast in the USA by Fathom.

The time period here is very well defined by some great projection work by Dyan Bailey, and some wonderful costumes by Vince Kelley. I think we can all agree that we want a pair of Frank’s pants. It all plays out on a nearly bare stage with some accents, though I have to admit I’m getting a bit tired of the “no set” approach for the last few musicals at Ringwald. Painted grey, everything looks eerie, the exact effect you dont want in the background for this already bitter material.

The one thing everyone agrees on is that Sondheim has crafted his best score for this show. It was an instant smash recording when released in the late 70’s and most theatre folks of a certain age grew up having memorized every single one of these remarkable songs — the revisal adds many additional “explanatory sequences” which are neither here nor there.

It is very well musically directed by CT Hollis and the vocal work here is impressive across the entire cast. Directing falls pretty flat with a lot of standing around and basic moves; and choreography doesn’t impress though the cast performs their steps well, with the exception of “Hey Old Friend” which finally brings some life to the proceedings.

But what does make a solid impression is how good the performances here are. Kevin Kaminski is great as Charley, Kyle Johnson is a very strong Frank, and Ashlee Armstrong is outstanding as Mary (even if the requisite audience tears don’t fall in the otherwise heartbreaking marriage sequence because of the lack of isolation of characters, too much distance between them on stage, and too much movement in the background from the ensemble). Still, they are very fine performances and the show comes to life when the three are together. An artistic decision was made to leave the three of them on the rooftop by themselves at the end of the show without the ensemble – it underlines the central triad, but I miss seeing the youthful enthusiasm of the entire cast on stage at the end as written.

A few other liberties have been taken with the show, some for the better (goodbye Frankie Jr) and some just head-scratching odd.

Other great performances are created by Liz Schultz who is a wonderful sharp-as-a-tack-comic-timing Gussie and Jordan Gagnon as Beth. The ensemble as a whole is very good, and my favorite stage moment was probably Matthew Wallace’s spot-on lounge piano player.

I know this book inside and out, so my experience was probably different from most. If you don’t know the show at all, its a great introduction to this work – one of Sondheim’s rare failures that has taken on a life of its own. Just don’t expect a revelatory experience, and there isn’t much of a payoff when its all said and done.  But revel in these remarkable performances as they roll along in a show itself that occasionally demonstrates sputters, fits, and starts.

Recommended.

Merrily We Roll Along continues at the Ringwald Theatre through March 19th. 22742 Woodward  Ave, Ferndale, MI tickets and more information at: ringwald.com

Great Balls of Fire! “Million Dollar Quartet” rocks the Encore (Review) February 4, 2018

Posted by ronannarbor in Million Dollar Quartet, musical theater, Musicals, The Encore Musical Theatre Company.
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Million Dollar Quartet – Photo credit: Michele Anliker

Based on an actual jam session at Sun Records in December of 1956 (the real recording is currently called The Complete Million Dollar Quartet, though it has had other names), this musical chronicles the impromptu session where Jerry Lee Lewis, Johnny Cash, Carl Perkins, and Elvis Presley all wind up in Sam Phillips studio at the same time. Along for the ride is Presley’s singer-girlfriend Dyanne (in real life Marilyn Evans, who was not a singer, so Dyanne is made up here). In the actual jam session they sang Christmas carols and popular songs at the time. Here, they are replaced by some of their most famous songs. It all works well, though the book spends more time explaining the story than telling it.

What follows at the Encore Musical Theatre Company is a whiz-bang evening of 50’s Rock and Roll with the performers playing their own instruments. In this intimate venue, you feel like you are in the studio itself, and it is exciting musical theater. There isn’t much of a story. Phillips tries to re-sign Cash not knowing he’s already signed with Columbia, youthful Presley has already left Sun and signed with RCA Victor, Carl Perkins can’t find that second hit (though we all know he eventually does) and Jerry Lee Lewis’s career is about to take off. This show is about the music, and that arrives in spades. From “Blue Suede Shoes” to “Whole Lotta Shakin’ Goin’ On” its all here.

Encore has assembled a remarkable cast. Alex Canty is great as Carl Perkins, as is Stephen Shore as Johnny Cash. Josh White is terrific as Elvis, and Marek Sapieyevski simply brings down the house as Jerry Lee Lewis. Kaitlyn Weickel gets her own moments to shine, and Jim Walke plays a genuine and natural Sam Phillips. Orchestra members R MacKenize Lewis (who also did the fine musical direction) on bass, and Billy Harrington on drums fill out the remainder of the ensemble.  I’ll go out on a limb to say that this is far and away the most professional production that Encore has presented to date and I loved it.

The beautiful recording studio set is designed by Thalia Schramm and Greg Brand — oh my gosh that recording booth! There is excellent and colorful Lighting by Dustin Miller. Properties by Anne Donevan are exceptional. Excellent costumes are designed by Sharon Larkey Urick. Sound design is good, if a bit subdued, by Dustin Miller, Tera Woolley and Chris Goosman. (If you are worried that the band is going to be too loud, it’s not — in fact, it needs cranking up — and at my performance, Sapieyevski’s body mic was not turned up enough). It’s all nicely directed by Tobin Hissong who keeps the action moving at a steady pace and comfortable tone. Overall great work here by all.

It should be noted that the four leads are an assembled cast of professionals who have all played these parts in Million Dollar Quartet before at other theaters nationwide. That’s a real boon for The Encore — these are fine performers that local audiences would otherwise not see. It is also a remarkably difficult musical to present, since the four not only need to (somewhat) resemble their characters, they also need to be able to play their own instruments, and they are all outstanding at doing both.

The reaction to the show was ecstatic – and it hits the target market well. These are songs that we’ve grown up with, that we sing at karaoke bars, that we turn up when they come on the radio, and some of which we haven’t heard in decades. It is a nostalgic and rock and roll filled trip down memory lane when lyrics had meaning and songs had tunes and catchy riffs…and this show catches them in their younger years: before Elvis sold out completely, Lewis built up his stardom, Perkins became the king of rockabilly, and Cash became an international superstar.

Very Highest Recommendation.

Million Dollar Quartet runs through February 25th at The Encore Musical Theatre Company, tickets at theencoretheatre.org, 734-268-6200, and at the Box Office, 3126 Broad Street, Dexter, MI

Smooth Sailing for the SS American — Anything Goes at Encore (Review) November 26, 2017

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(Photo courtesy Encore Musical Theatre Company, Michele Anliker photographer)

The SS American has set sail at the Encore Musical Theatre Company and I predict nothing but smooth sailing ahead for this lovely production of Anything Goes. There isn’t a Christmas tree in sight, and it is still the brightest holiday musical in town this season.

Olivia Hernandez is a terrific Reno Sweeney and she sings and hoofs with the best of them. Along for the cruise are wonderful Sebastian Gerstner as Billy Crocker, very funny Dan Morrison as Moonface Martin, delightful Emily Hadick as Hope Harcourt, brassy and sassy Elizabeth Jaffe as anybody’s Emma, and a bigger than life and hilarious David Moan as Sir Evelyn Oakley. Supporting them is an excellent ensemble of what could best be described as a who’s who of Encore’s finest.

Thalia Schramm directs with terrific pacing and fine attention to period detail. Musical direction by Tyler Driskill is outstanding (as is his luscious live orchestra); costumes come and go quickly here and look period perfect by Sharon Larkey Urick, Anne Donovan provides some nifty/funny properties, and it all looks great on Kristen Gribbin’s Set with the outstanding lighting design of Tyler Chinn. Sound design by Dustin Miller and Meg Berg is excellent.

But this show truly explodes when it takes to dance — which is a lot. Rachel Costantino has provided terrific material for the many numbers, and the performances are spot-on tight; particularly the great tap number that closes Act I (“Anything Goes”). But also delightful are the smaller two-person numbers. Evelyn and Reno’s “The Gypsy in Me” is a particular favorite. These are two performers at the top of their game and it brings down the house. Gerstner is at the center of many of the dance numbers and he looks and sounds terrific.

You can’t do much better this holiday season than joining this group of zanies as they head across the ocean on the SS American — fully loaded with talent, musicality, and the best dancing in town (even if the ships passengers find there isn’t a celebrity in sight).

Very Highest Recommendation.

Anything Goes continues at the Encore Musical Theatre Company through December 23rd. Tickets at theencoretheatre.org or 734-268-6200.

 

Once On This Island, Spongebob Squarepants, The Bands Visit (NYC – reviews) November 20, 2017

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This fall trip didn’t bring very many new musicals to sample — and the spring doesn’t look much better but the big blockbusters (Mean Girls, Frozen, and Harry Potter) arrive and I’ll be reviewing those at the end of March). For this trip there was the remarkable Once on this Island, the super-fun Spongebob, and the lovely The Bands Visit.

Seen in order:

ONCE ON THIS ISLAND – Circle in the Square –

Book and Lyrics by Lynn Ahrens, Music by Stephen Flaherty. Directed by Michael Arden, choreographed by Camille A Brown, Music Supervisor Chris Fenwick.

Once on This Island arrives in its first Broadway revival since the 1990 original and it is exquisite. It also creates a new superstar performer in Hailey Kilgore as Ti Moune, much the way the original launched the career of LaChanze. Beautifully staged in the round by director-de-jour Arden, it uses as its centerpiece a hurricane that has ripped its way through an unnamed Island in the French Antilles. It has a particular resonance given this fall’s recent devastation. Residents, healthcare workers, and volunteers helping in the cleanup effort take parts in the story being told to a scared little girl. If you don’t know the story, its an Island-flavored take on The Little Mermaid, with the original ending, not the Disney-fied one. If you take your children (and you should) you may need to explain the ending a bit.

The cast is terrific, the sound is luscious, and the choreography is fun. The staging is creative and immersive – actors are around you, in front of you, and at times right next to you — even in the middle of some of the rows! If I have any criticism at all, it feels a bit like the show is cramped in this intimate space and could have used a larger house to spread out a bit — but then you wouldn’t have that experience you get here sitting only feet away from the actors in the very small Circle in the Square. There is something to be said about Lea Salonga talking to you before the show starts, and spending much of the show sitting next to you.

There are some fun surprises in store — like some cross-gender casting for a couple of the Gods. It works very well. Once on this Island is story theater — and what a story you get here. Prepare to cry of course. I found myself welling up in all the expected places, and one unexpected one. I love this show, have directed it in the past, and was very much a fan of every choice the creative team has made here. Michael Arden (who directed Deaf West’s Spring Awakening a couple seasons ago) continues with his creative streak of remarkable musicals. Bravo.

SPONGEBOB SQUAREPANTS THE BROADWAY MUSICAL – Palace Theatre-

Book by Kyle Jarrow, Original Songs by Yolanda Adams, Steven Tyler and Joe Perry of Aerosmith, Sara Bareilles, Jonathan Coulton, Alex Ebert of Edward Sharp & the Magnetic Zeroes, The Flaming Lips, Lady Antebellum, Cyndi Lauper, John Legend, Panic! at the Disco, Plain White T’s, They Might Be Giants, and T.I.   Conceived and Directed by Tina Landau, Choreography by Christopher Gattelli, Musical Supervision by Tom Kitt.

Ok, let be be upfront about this…I LOVED THIS SHOW. Yeah, you think, Spongebob Squarepants, what the heck, right? Well this is the most fun I have had in a theatre in years. Its a hilarious, strange, creative, over-the-top, tuneful, dance-filled evening of high-energy. You don’t need to be a Spongebob cartoon series fan to love the show (but it helps). Before you get any idea that there are these big weird costumed folks leaping around the stage arena-theater style get that out of your head right how. This show is done very much like You’re a Good Man Charlie Brown – characters wear street clothing stylized to the characters in the cartoon series. Patrick wears shorts and a shirt with a big pompadour. Spongebob wears a yellow shirt and suspenders. Squidward wears a shirt and two pairs of legs ( no really – clever and simple – and later, great in a tap dance number), Sandy wears a white jumpsuit and a big hilarious round wig.

The story is simple: there’s about to be a volcano eruption threatening to destroy Bikini Bottom — the characters have to work together (or apart as Sheldon Plankton would like to destroy things) and that theme is so important right now. Laced with just enough political humor to keep adults on their toes, this is a much much smarter musical than you might think. In fact, its sort of like what Seussical should have been like had it been done right. The music by some of the best current pop rock writers in the business is fun, hilarious, tuneful, and spot on throughout. There is of course, the obligatory “Spongebob Theme Song” during the finale – and its a rocking affair.

Along the way you get some fun set work, great choreography by Gattelli, and wonderful fluid direction by Tina Landau (along with funny interruptions by Pirates of course).  The cast works as a terrific ensemble, but Ethan Slater as Spongebob is superb, as are Danny Skinner as Patrick, Gavin Lee as Squidward, and Lilli Cooper as Sandy. The cast album is already available, but it sounds more alive (and more energetic) on stage.

By the time you get to the finale, you know that mere confetti is not enough — so you get confetti, streamers, bubbles, glitter, and a whole lotta fun. You are hearing this here first — expect a Best Musical nomination at this year’s Tonys. And that is no joke. Three days later I am still telling everyone about this show.

THE BAND’S VISIT,  A NEW MUSICAL – Ethel Barrymore Theatre

Music and Lyrics by David Yazbek, Book by Itamar Moses. Directed by David Cromer, Choreographed by Patrick McCollum, Musical Direction by Andrea Grody.

One week ago The Band’s Visit opened to almost unanimous raves by the New York media, and less ecstatic audience response — similar to Once. And similar to Once, not much happens here, but what does happen is so lovely you can’t help but admire this piece even if you may feel nothing by the end of the intermissionless 90-minute musical.

Based on the 2007 movie (mostly known for the drama surrounding its ineligibility for the Best Foreign Picture award given most of its dialogue is in English), it concerns an Egyptian police band stranded in a small town in Israel after a travel-snafu when tickets are purchased to a similar sounding town that starts with a B instead of a P. With no bus available until the next morning, the members of the band rely on the kindness of a group of locals who take them in, feed them, and entertain them overnight. Along the way you learn a little about this desert-town’s misfits and I suppose we are supposed to take away from this small group of people who can’t communicate with each other because of language differences that we can recognize ourselves even in these assorted people on the other side of the globe.

That’s a big I suppose. I found myself admiring this gorgeous production (and particularly David Yazbek’s glorious score) while feeling entirely removed and not relating to any of these characters. Let me also say I did not at all like Once, and that won Best Musical so don’t look to me to judge the final outcome of this show (though it is having trouble selling tickets in a tiny house so, there is that). This is a musical in which absolutely nothing happens for 90 minutes. Yeah, its the desert and much is made of staring into the distance, and yearning, and waiting. One of the locals has stood in front of the (never ringing) payphone for two months waiting for a phone call from his girlfriend. Its kinda funny, But not really.

Katrina Lenk turns in a every-bit-the-star performance as an owner of a cafe, and Tony Shalhoub is excellent as a shy widower and conductor of the Police Band. The musical seems to set up some big drama that will be revealed later in the show concerning this man — and nothing happens. Oh, there’s a little bit of melancholy in these broken people, but nothing here that propels any type of exciting story telling. I’m going to say I am in the minority here since most critics have just loved the show and are gushing all over each other in accolades.  Its a lovely show, I admire it greatly, but I could never sit through it again, even at a short 90 minutes (which felt much longer).

 

 

Emotion-filled “Cabaret” at Ann Arbor Civic Theatre (review) October 27, 2017

Posted by ronannarbor in Community Theater, musical theater, Musicals.
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I’d normally start this review by telling you to go get tickets now for AACT’s “Cabaret” this weekend at the Arthur Miller Theatre, but since the run only has a handful of tickets left for Sunday afternoon, I’ll just start by saying that director Kat Walsh, choreographer Tyler Stickel, and Musical Director Jennifer Goltz have molded a terrific and emotion-filled production that audiences will remember long after the final scene. If you’re lucky to get those final few tickets, you’ll have a great theatrical experience.

Photo by Lisa Gavan

Front-loading this production with an incredible performance by Trish Fountain as the Emcee, and a mesmerizing performance by Laura Dysarczyk, Walsh’s 18-member cast functions as a true ensemble – whether that is performing Stickel’s innovative and excellent choreography, or singing those terrific Kander and Ebb songs (Goltz’s on-stage orchestra is outstanding as is the vocal work here).

You know the story so I’m not even going to repeat it here, except to say that there is also very strong work by Chris Grimm as Cliff, spot-on work by Greg Kovas as Ernst, and a earthy and lovely performance by Jessica Ryder as Fraulein Schneider.  It makes this crumbling pre-nazi Weimar Republic Berlin feel very real indeed.

Leisurely paced (maybe a touch too leisurely at 2:45) there are some terrific moments in this production – I don’t want to give them all away but a sequence in which a young Hitler Youth member defaces a stage curtain is particularly striking. There are a few awkward scene changes that slow the proceedings – but while the production isn’t exactly steamrolling into the nazi era, it is at least unstoppably heading there. For those familiar only with the original production of the 1966 Cabaret it is good to know that this production uses the 1988 revival version – the one that cuts some of the more upbeat music and better integrates Cliff into the storyline, catapulting the final moments into the nazi era. Cabaret has never been a fun-filled Broadway evening out, but the revisal is a no-holds barred, dark, emotional affair. And that is no different in Walsh’s production.

Highly Recommended.

If any tickets remain, or are returned, you can check at the box office day of show. Cabaret continues through Sunday afternoon at the Arthur Miller Theatre on UM’s North Campus. If any tickets remain (Fri and Sat are entirety sold out, a handful remain as of this writing for Sunday afternoon) you best go to a2ct.org to get them.

 

 

“The Bodyguard, the Musical” is fun, entertaining, talent-filled (Review) October 23, 2017

Posted by ronannarbor in Broadway Musicals, Broadway Tour, musical theater, Musicals.
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First, let me preface this by saying I’ve read many of the reviews for this musical. The original London and most international reviews have been terrific. The show, bypassing Broadway and doing a US tour, has not fared as well in the US reviews. Let me be a British reviewer. I loved this show when seen this week in East Lansing. I don’t get the negative reviews, and I highly recommend the show which is fun, entertaining, and loaded with talent. I guess it comes as no surprise as the aggregate movie critic rating is 32% while the audience rating for the movie is 98%.

The show stars R&B star Deborah Cox as pop star diva Rachel Marron (i.e. Whitney Houston) and TV star Judson Mills as the Bodyguard Frank Farmer (Kevin Costner). Cox is frequently understudied by Jasmin Richardson (who otherwise plays her sister Nicki)  and Mills by Jorge Paniagua (who normally plays :”the Stalker”). You know he’s the stalker because every time he appears the orchestra plays a chord and he appears in a white shaft of light.

Subtle the show is not — and it is based almost word for word, scene for scene on the movie that spurred the Number One hit soundtrack album (which it still holds), to a fault — even the opening shooting (which has absolutely nothing to do with the rest of the show). But it’s a 2 hour 15 minute joyride into the amazing soundtrack, and each song is presented performance-style at concerts, nightclubs, etc. It’s not a show where performers stop and sing toward one another. Its a show that transforms instantly and at times brilliantly on Tim Hatley’s gorgeous almost constantly moving light-up set from living rooms to theater stages, and that is exactly as it should be. If you are going to see The Bodyguard because you want to see how the story unfolds you are at the wrong musical.

The Bodyguard has more in common with Mamma Mia, On Your Feet, and other jukebox musicals than standard book musical theater fare. And it works well under Thea Sharrock’s straightforward direction. This is a show that knows its primary audience — and it plays for understanding and clarity throughout — at the loss of subtlety (even then, the older lady sitting next to me was lost for a good portion of Act One). That’s smart theater production and I don’t blame that creative team one bit for doing it that way. After all, this is a show that is primarily geared toward the Whitney Houston songs than anything else.

And the songs are spectacular — with a group of aerobics-toned dancers under the guidance of Karen Bruce, you feel like you are at a concert, at the Academy Awards, at a club. The choreography is terrific, and the dancers are wonderful.

Whether you get Deborah or Jasmin you are in for a treat, it just doesn’t matter with this show. At my performance Paniagua played Frank and he was terrific. Jasmin played Rachel and I loved her. But I will venture to say that the leads are interchangeable.

Sets, costumes, lighting are great. This is really entertaining stuff, and while you might walk away from the show wanting to be a US critic — I urge you to be a British critic and see the musical for what it is worth. I am particularly agitated by the Lansing State Journal review which in essence urged audiences to save their money and not bother with this show — are you kidding me???? Our performance had an instantaneous standing ovation and it wasn’t because every show now gets standing ovations (believe me, I see almost all of them and NO they do not all get standing ovations, and not this enthusiastically).  Clearly, this is a show that is aimed directly at the audiences entertainment dollars and succeeds wildly. Do NOT sit at home and let this one get by you — its a terrific cast performing a high-energy very entertaining production that I loved. And so did the very vocal audience members leaving the theater around me. I just kept hearing “I loved that” over and over — and that is what I would consider a resounding success.

Highly Recommended.

The Bodyguard completed it’s run at East Lansing’s Wharton Center this past Sunday, but will be back for a two week run in Detroit from January 16th through 24th. Tickets at Ticketmaster and the Fisher Theatre Box Office.

 

 

“Love Never Dies” tour is glorious (Review) October 19, 2017

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Andrew Lloyd Webber’s sequel to The Phantom of the Opera, Love Never Dies, is currently making its official US Tour debut in Detroit (it has already played upstate New York and Baltimore in previews, London, Australia, and other world cities) and it is a glorious affair, though your personal like will depend on your love for the characters from the original. While the musical stands alone, you need to have seen the original to understand why these characters capture you from the start to finish in this gorgeous musical.

Yes, that is Sir Andrew Lloyd Webber himself on stage at the Fisher Theatre last night, and yes I did take that photo with my iPhone.

Taking place ten years after the original, the Phantom, having fled Paris, has now set up shop at Coney Island where he is free to present his macabre Phantasma show and he has lured Christine to America under the guise of performing at Hammerstein’s new theatre. But a surprise lies in store. Also in Coney Island are ever-faithful Madame Giri and her daughter Meg, now a rising star at Phantasma. Along for the ride are down-on-his-luck Raoul and their 9 year old son (get it?). What plays out is high drama in opera buffa style, incorporating various musical styles of the era, a few rousing pop ballads, and at least two massively glorious numbers, the opening “Til I Hear You Sing” (which I suspect every musical fan knows by heart by now), and Christine’s title song “Love Never Dies”. There is also a spell-binding duet for the Phantom and Christine when first reunited – first in their hotel room, and then revolving to the hotel balcony – “Beneath a Moonless Sky/Once Upon Another Time” and later another for Raoul and the Phantom — “Why Does She Love Me/Devil Take the Hindmost.”  I give that example because this score is perfectly written – with its ever-building tension, building in classical musical motifs, and slight elements from the original Phantom of the Opera (to remind you this is a continuation of the story) and its very effective.

Its also a musical with a tremendous heart. If you don’t care about these characters, you won’t care about the tragic ending. I won’t tell you more except to say that not all of the main characters make it to the final moments of the story, and those that do will share emotional scars.

None of this would work were it not for the brilliant stagecraft and performances. The Australian production of the show has been basically imported here, including an almost identical design (scaled down a bit, but surely restored to its full glory when the show reaches NYC, the ultimate goal of this tour) from Australian designer Gabriela Tylesova whose sets and costumes are gorgeous, as is Nick Schlieper’s lighting design. Simon Phillips recreates his staging as director, as does choreographer Graeme Murphy AO, both from the Australian production.

But the night belongs to the singers — Meghan Picerno is a fantastic Christine, and she brings down the house several times with her singing here. She’s also a strong performer and you feel a connection to her early on, which is as it should be for dramatic effect later in the proceedings. Normally Gardar Thor Cortes plays the Phantom and I am returning next week to see him. Last night we had a spectacular performance from understudy Bronson Norris Murphy whose voice is fantastic and whom I understand performs this part quite regularly. A performance schedule has not been announced.  Also very strong are Karen Mason as Madame Giri (Love. Her.), Mary Michael Patterson as Meg, Sean Thompson as Raoul, and the rotating Gustave’s (last night Jake Heston Miller). Katrina Kemp, Richard Koons, and Stephen Petrovich round out the featured cast with their emcee-duties – and they are funny, athletic, and always watchable. There is also a 20 member ensemble and they are strong throughout.

There is no falling chandelier here, but there is a magical horseless carriage. There is no fiery scene in a cemetery, but there are plenty of surprises including a macabre and brilliant look at the darker side of Coney Island (“The Beauty Underneath”). And then there is a beautifully realized final scene on an oceanside pier that had gasps from the audience last night. And its a doozy.

Very Highest Recommendation.

Music by Andrew Lloyd Webber. Lyrics by Glenn Slater. Book by Andrew Lloyd Webber & Ben Elton, with Glenn Slater and Frederick Forsyth. Orchestrations by David Cullen and Andrew Lloyd Webber. Musical Director Dale Rieling.

Andrew Lloyd Webber’s Love Never Dies continues at the Fisher Theatre in Detroit through October 29th. Ticketmaster, 800-982-2787, and Box Office. 

 

 

 

 

Some great actors in tame “Rocky Horror” at Ringwald (Review) September 30, 2017

Posted by ronannarbor in musical theater, Musicals.
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The Rocky Horror Show arrived at the Ringwald Theatre in Ferndale last night, and there is some fun to be had, mostly by way of some terrific cast members.

Suzan M Jacokes is a terrific Frank N Furter. In fact, you could say that this entire production belongs to her. Singing, dancing, acting, prancing, or running around with a chainsaw, she is hilarious. Kevin Kaminski is also hilarious as Brad Majors, with optimum physical fun, great vocals, and minimal mugging. Casey Hibbert is a fine Narrator and taps a mean dance interlude. Nick Yocum is very good as Rocky. Richard Payton, as usual, is terrific in the role of Riff Raff. He makes it his own and its a hoot. I also very much liked Nicole Pascaretta as a very athletic Columbia, and she was the source of my biggest laugh of the night. While everyone is generally okay, there are some performances that are not up to the level of others.

Vocal Direction by Jeremy St Martin is solid, and the choreography of Molly Zaleski keeps things moving appropriately although it is stronger in the second act than the first. Jennifer Maiseloff’s scenic design is minimal but serviceable, and the same can be said of Erin Benjamin’s costume design and Dani Hamm’s lighting design.

I’m always conflicted when I go to review a Ringwald show, and I usually err on the side of not reviewing them. These are hard working folks with big hearts. But the shows always feel unpolished and unfinished — as if somewhere along the line, what starts with greater intentions eventually becomes a “okay, well, that’s good enough, lets just leave it.” And that is evident here — the set doesn’t feel quite finished, and tinsel used later in act 2 hangs around in clumps in act 1. A cool set piece of dials and electronics is tucked away in a corner where you can’t see it.  Choreography isn’t polished, though generally serviceable. Action in larger sequences is unfocused — where should I be looking? — “Hot Patootie” has so much storyline going on underneath the number, but unless you know what’s supposed to be happening, much of it is unfocused and you wouldn’t really have a clue that Eddie is about to meet his end.

Rocky is also a weird show at this point in time — you either get it, or you don’t. There were plenty of perplexed looks in the audience last night, with its mix of local Ferndale theater goers, and guests of cast members scattered from a larger area. The pre-show “virgin” sequence fell flat because the Phantoms’ schtick was unpolished and people jumped over each others “moments”. (Word to the uninitiated — do NOT volunteer that you are a Rocky virgin). I’m not sure if that is because people kind of have forgotten most of what the audience participation is about, or if they never knew it to begin with. Younger audiences are sure to not recognize the routines and patter, despite director Joe Bailey’s valiant attempt to keep patter going from the back of the house.

So you have, well, a mixed bag. Some great performances which make the evening worthwhile. Some fun, but overall, a show at a theater that often takes risks, erring on the side of a tamer production of this show than this writer has seen (in probably ten different stage productions over the years). Isn’t that ironic?

See it if you want to. You’ll have fun.

The Rocky Horror Show continues at the Ringwald through October 30th. See theRingwald.com for tickets and information about times (including some late night shows).