Mostly Musical Theatre

“The Philadelphia Story” at Ann Arbor Civic Theater – (Review)

First, disclosure — I was the marketing liaison for this production, and I did organize the scene changes — that being said, I was not involved in any other way with this production, and since this is my own blog, I can review whatever I want. In the past I have had a guest reviewer, but quite frankly, there isn’t time to do that with only a few more performances at hand…

It is a delight to have The Philadelphia Story back on stage — those of us of a certain age will remember lots of college and community productions of this show, before it went out of fashion many years ago — but it needn’t have…it is just as relevant today as it was in the late 30’s when it was written. Philip Barry was known for witty patter and his humorous take on society in the 30’s. The Philadelphia Story was written for Kathryn Hepburn for Broadway in 1939, and then gifted to her as a birthday present for the movie version a year later.

Here, Colleen Kartheiser does a great job playing Tracy Lord, society girl on the eve of her second marriage, and the eye-opening journey that ensues when confronted with current beau George Kittredge (solid Adam Weakley), ex-husband CK Dexter Haven (terrific Karl Kasischke), and soulful writer Macauley Connor (excellent Nick Boyer) at the same time. One girl. Three guys. Laughter (and romance) follows. But how those twists and turns follow suit are exactly what makes this show so well written — and why its considered the “original romantic comedy” because of the way the third act plays out in its romantic final moments.

Also terrific is the entire supporting cast, including matriarch Kathleen Beardmore and patriarch Jared Hoffert of the Lord Clan, funny and meddling sister Dinah Megan Shiplett, photographer Alix Berneis (in a subtle underplayed role that makes her story all that more interesting), and additional family, servants, and others (David Angus, Rob Roy, Thom Johnson, Laurie Atwood, Keith Rikli, Lisa Gavan, and Charlie Sutherland.)

It is all played out on a gorgeous revolving set designed by Cathy Cassar, period-gorgeous costumes by Wendy Katz Hiller, period perfect furnishings by Wendy Wright, and nicely lit by Zachary Johnson (I particularly liked the Act II Scene 1 sequence lit outdoors at nightime, with its romantic shadows and surprises lending an almost dreamlike quality to the proceedings.)

Wendy Wright’s direction paces things well, includes plenty of surprises, and makes for a fine evening of theatre — posh enough to depict society life at its best, while adding enough modern-day sensibility to make it all work 75 years later.

A final note: dear audience member the row to my left: if your deaf husband does not understand what is going on, please do NOT explain to him during the show loudly and for all to hear exactly what is going on — oh, and by the way, your interpretation of events wasn’t all that accurate.

I loved the show — you will too. If you are familiar with it already, you will find how remarkably these actors make the roles their own. If you have never seen the show, well you owe it to yourself to see this chestnut in its very pretty incarnation at the Arthur Miller Theater for the rest of this weekend.

Tickets at http://www.a2ct.org/tickets or at the door.

Gorgeous but emotionally flat THE MUSIC MAN at University of Michigan (review)

I am always so glad to have a ticket to a University of Michigan Musical Theatre Program show, because they are simply the best in town, every single time. That does not mean that the best is always perfect — and The Music Man, running this weekend at the Power Center is exactly that type of not-perfect.

There is a fantastic musical theater program cast of pre-professionals. I rarely highlight student names unless they are spectacular, and in this production, I don’t have one of those names to mention. Everybody is spot on good. Some have more charm than others. Direction and choreography by Linda Goodrich is terrific, as are all the vocals under the direction of Jason De Bord. The set is lovely, and the costumes are gorgeous. Lighting is spot on.

So why did I leave the Power Center feeling, well, sort of like I saw replacements in a Broadway tour? Was it an off-night? Did Harold Hill just not connect with me in the audience (he didn’t). Was it the lack of chemistry between Marian and Hill (there wasn’t). Or was it more-so that the entire affair felt so over-rehearsed that emotion was crowded out?

Or was it because the image of Gavin Creel playing Harold Hill, and that remarkable production (probably UM’s finest ever) still feels so fresh in my mind? That particular production by this same program was in 1998, so its been 17 years — and yet it still is the benchmark by which all of the musicals I’ve seen at UM will always be compared. This one did not compare.

Don’t get me wrong — this is a spectacular musical theater production, and you will leave knowing that you got your money’s worth — you saw some great up-and-coming Broadway and professional musical theater stars, and you sure got to see a really pretty show. But don’t expect to walk away feeling much.

The requisite tears came at the end of the show when the Boys Band arrives on stage, and the parents forgive all when they hear their kids play (badly). Its that classic musical theater moment that every single production of this show better do right, or don’t bother doing the show at all. And this production gets that very very right. I just wish there had been more of that throughout.

THE MUSIC MAN continues at the University of Michigan, Power Center through Sunday April 19th. All performances are sold out.

Remarkable “Man of La Mancha” at Western Michigan University (Review)

There’s a remarkable production of Dale Wasserman, Mitch Leigh, and Joe Darion’s 1965 musical “Man of La Mancha” being staged by Western Michigan University at the Williams Theatre this weekend and next. I’d try not to miss it if I were you…

Jay Berkow, MSU’s Director of the Music Theatre Performance program directs and choreographs a cast of 26, Musical Director Matthew Shabala also conducts the orchestra of 10. If ever there is a musical that defines the term “ensemble piece” LaMancha is it — but it is also a star-making vehicle, and this production has that star in junior music theater performance major Miguel Ragel Wilson, who is, in a word, excellent as Cervantes/Quixote. His baritone singing voice soars out at what seems twice his actual age, and his acting will leave you crying during the musical’s master-song “Impossible Dream”. In fact, keep the hankies out for the finale as well.

The student cast ranges from very good to great, among them Anica Garcia DeGraff as Aldonza, Mike Perlongo as as Sancho, Charles Benson as the Innkeeper, and Aaron C. Rutherford as Carrasco. Also strong are Chase Gray as madman/padre, Carrie Drummond as Antonia, and Ana Martinez as housekeeper.

Scenic Designer Dave Nofsinger has designed a gorgeous multi-level set, complete with drawbridge. Kathryn Wagner’s costume work is period correct and looks fantastic on her actors. Berkow keeps everything moving at a swift pace (110 minutes without an intermission) and by the time you get to that final sequence (you know how it ends, don’t you?) you’ve been entertained, laughed, cried, and made to feel something.

Before Les Miserables and its barricade…before Next to Normal and its emotional ending…there were musicals like LaMancha — they told a story; they made you cry because the actors made you feel; and they did it without special effects or other stage magic. What makes LaMancha work so well is its simple, clearly told story — the effective use of ensemble to convey all the other characters in that story — and an ending that, well, leaves you a bit worried about how it all turns out. The musical won 5 Tony awards in 1965, including Best Musical, and had a (very bad) movie adaptation. It used to be done by every single high school, college, community theater, and regional theater around. Now productions are far and few between, and you should not miss this one.

I’ve seen probably 20 different productions of Man of LaMancha (it is in my top-ten list of favorite musicals) but this one ranks among my favorite — and that is because Berkow knows that the show has a style, and a flow, and a pace that is unique to the piece, and because he stays authentic to it. If you have never seen the show, you will probably experience a similar feeling to what it must have been like to see the show at the Anta Theatre in NYC. If you have seen the show before, then you’ll realize what a well-done production this one is.

It is remarkable musical theater done remarkably well.

Very Highly Recommended. (I would make it required attendance if I were teaching).

Man of LaMancha continues at the Williams Theater on the campus of Western Michigan University through April 19th. Tickets at https://millerauditorium.secure.force.com/ticket

One word of warning: Arrive early. There is plenty of free parking directly outside the theatre complex, but this is open general admission seating. Use the door to your far left of the lobby, it is the only one they open for this production. Once the doors open, its the running of the bulls to find your seats, and if you arrive anything less than 15 minutes before showtime, you’ll be scrambling to find anything together.

Downriver Actors Guild presents THE MUSIC MAN

The Downriver Actors Guild will present THE MUSIC MAN May 8th – 17th at the Catherine A Daly Theatre on the Avenue in Wyandotte, MI. The production is directed by John Sartor.

You already know the story. You already have your favorite scene. Now come see the show in an exciting new setting. Sartor is particularly enthusiastic about presenting the musical in the intimacy of a blackbox theater. “Experiencing actors fall in love before your eyes in a black box theatre is magical. The intimacy of a black box setting allows the actors the opportunity of realism rather than heighten a performance in order to play to the balcony. Patrons easily become part of the play itself.” The theatre itself opened only last year, and its a great new performance space for the group.

The production is musical directed by Wendy Fichter with set design by Leo Babcock. It is choreographed by Kayla Aue. Kevin Kaminski of Detroit stars as Harold Hill, while Annie Kordas of Grosse Pointe Farms stars as Marian (Madam Librarian) Paroo.

Tickets can be purchased online at: downriveractorsguild.net or by calling 313-303-5269. The theatre is at 2656 Biddle, in Wyandotte, MI 48192. That’s a short 40 minute drive from Ann Arbor, yo!…

Remarkable “Violet” at The Dio Theatre (Review)

The musical “Violet” by Brian Crawley and Jeanine Tesori has taken residence at The Dio Theatre in Pinckney for the next six weeks, and it is their strongest offering yet.

Led by a remarkable performance by Mahalia Greenway in the title role, this is a musical that has already claimed a place in musical theater history, Off-Broadway 1997, and on Broadway just this past season. Telling the story of a woman with a scar on her face from an accident in childhood, it follows two storylines as she goes off to Tulsa to seek a televangelist whom she believes will heal her scars, while simultaneously revealing to the audience how things went down in the first place. Her father is played by Andrew Gorney in another very strong outing at The Dio, while (at my performance) 8th grader Lilly Rosenberg was excellent in the role of Young Violet.

Of course, it all leads to the inevitable conclusion that beauty lies within, but getting to that point is what makes this story so interesting. The score is primarily comprised of country pop and gospel tunes (perhaps you’ve heard “Raise Me Up” on Sirius XM’s On Broadway where it gets a lot of play). Mahalia Greenway brings a depth of acting as well as singing to the role of Violet as she makes her journey — and what a journey it is.

While she travels by bus from her down-south mountain home, to Tulsa, she discovers that people can be selfish and caddish (Monty, played by director Steve DeBruyne), interesting and enigmatic (visiting actor Luther Rapheal Simon as Flick), open books (Linda Rabin Hammell) or closed ones. The ensemble is very strong, and in addition to the fine performances from these actors, there are also dynamic performances by Lauren Norris as Beale-Street singer Mabel, Peter Crist as the Preacher, Tyler Smith in various roles, Kristen Crockett as gospel singer Lula, and Jeff Steinhauer in other character parts. Its a true ensemble that sounds and works well together.

The five-piece backstage orchestra sounds great, though occasionally dialogue was lost at our performance when microphones for singers were at lower levels than the pop ensemble playing behind (and above) them – resulting in some sound balance issues. These resolved as the evening went along.

There is good setwork and good projections by designer Matthew Tomich, and the evening moves smoothly and quickly from scene to scene thanks to director Steve DeBruyne, musical staging by Thalia Schramm, and their cast working in sync from opening number to last.

This is the strongest offering at the Dio to date — and it is highly recommended. Not only is this a strong production all around, but it is a story-driven musical that you should take the time to check out.

Dinner, as always, is by the talented Chef Jarod and includes his trademark fried chicken and a tasty Jambalaya.

Violet continues at The Dio through May 17th, 177 E Main St, Pinckney, MI, 48169 517-672-6009 diotheatre.com

Jayna Katz in Concert – aka “Dogfight” the musical (review)

This afternoon I had the thrill of seeing Jayna Katz in concert at Lansing’s Peppermint Creek Theatre Company. Okay, it wasn’t really her concert, she’s starring in their current musical production, Benj Pasek & Justin Paul’s off-Broadway hit “Dogfight”. But this is the Jayna show from start to finish. Her backup singers range from terrific (Joe Quick and Matthew Bill) to so-so.

First, let me say how happy I am to continue to see Peppermint Creek present newer material and shows that aren’t run-of-the-mill regional fare — Dogfight is a great show, and you should check it out. The music and lyrics are fresh and energized, and Peter Duchan’s book is simple and effective in conveying this intimate story – and the story gets better as it goes along with a stronger second act as the love story plays out.

It follows a group of soon-to-be-Vietnam-bound marines as they hold a pre-deployment “dogfight” — throw some money in the pot, find the homeliest girl you can find, bring her to a party, and the ugliest wins the money. But what happens when there are real feelings involved instead? What happens when the girl you bring ends up being a sweet and innocent hard working waitress on her first date? And what happens when you start having feelings back? That’s the crux of the simple storyline.

Jayna Katz brings an amazing acting and singing performance to the role of the waitress, Rose. Her rendition of “Pretty Funny” is heartbreaking and powerful. In fact, everything else pales in comparison. It was a wise move for Peppermint Creek to bring in this visiting actress who now lives in NYC (but has local Chelsea and Siena Heights roots).

Her potential suitor (and eventual lover) Eddie (Patrick Harney), is a less experienced performer, and pales next to Jayna, making the relationship (and their songs) rather one-sided. Fortunately, he is at his best when with his two buddies Boland (Matthew Bill) and Bernstein (Joe Quick). The three together have an energy that is palpable. The men in general are quite strong in this production and Bill and Quick are the strongest of the bunch. The women in the production are relegated to backup-singers for the most part and fill-in smaller parts. One important character loses diction (and notes) in her higher register.

A few of the orchestra’s strings struggled through the difficult score though the rest of the ensemble is very good, and placing them onstage is a great way to balance the sound in the theatre space. The set by Jeff Boerger is beautiful, and works well in the space, making it all feel much larger than it really is. The Golden Gate Bridge looks wonderful looming above the action. Lighting cues were somewhat off, and the microphones occasionally popped during this afternoon’s performance. There are also a few places where attention to detail might have been more prudent — one of the actors real tattoos show prominently moments before a scene where he is supposedly afraid of getting a tattoo in the show. The dresses that Rose chooses from for her date are on plastic modern-day hangers that didn’t exist in 1963.

Oh, and Lauren Ezzo is absolutely a hoot as Ruth Two Bears — in fact, she manages to upstage the action taking place during the early goings of the Dogfight sequence by doing absolutely nothing… and it is brilliantly funny.

But the real reason to see this show is twofold: its an important new musical theater work and nobody else locally has done it (nor do I see it on any upcoming seasons), and Jayna Katz who carries this production, and you should see her do it.

Dogfight continues at Peppermint Creek through March 29th. Directed by Chad Badgero. Musical direction by Edric Haleen. Choreography by Karyn Perry.

“Buyer & Cellar” – Theatre Nova – (Review) –

“Barbra’s basement is just like any other mall, except for the total lack of customers or employees.”

Kudos to a remarkable performance by Sebastian Gerstner in the one-man show, “Buyer & Cellar” by Jonathan Tolins and to Theatre Nova on the launch of this new professional theater in Ann Arbor’s Yellow Barn, nicely converted into a theater-space that very much has the feel of the original PerfNet space (i.e. the one in the “commune building” before it mysteriously burned down on its path to becoming the new YMCA).

Tolins piece is a fictional account of what might happen (though we are told numerous times at the shows onset that it has not happened!) if Barbra Streisand’s basement mini-mall (real) had a sales clerk (not real). But it ultimately leads to deeper thoughts about celebrityhood, worship of celebrities, people, and interpersonal connections…while never straying far from its one-liners and jokes.

Sebastian Gerstner is simply marvelous as Alex More, celebrity basement mall clerk extraordinaire…and his comic timing is superb without ever veering into hysterics. From one moment to the next, you marvel at his ability to convey several characters (sometimes at the same time!) with rapidly changing moods, locations, and motivations, let alone keeping 90-minutes of dialogue spewing forth. But its a performance to cherish and shouldn’t be missed — and he is funny…very very funny. He’s particularly good at conveying short conversations — you almost see Barbra standing there though his voice and mannerisms are nothing like hers…Barbra, you see, is an experience.

Dan Walker’s set looks terrific in its muted grays and off-whites, and there is good use of the space so that no matter where you sit, you feel you are having an intimate discussion with Mr. Gerstner in your living room. It helps a bit to know about Babs’s movies and career, though its by no means a necessity — but familiarity will bring much bigger laughs during particularly funny sequences about the “shameless manipulation in Prince of Tides” and the “romantic comedy nature of The Mirror has Two Faces”. I am still laughing this morning about jokes from last night.

The show runs one more weekend, and you shouldn’t miss it. It is a night you will long remember, and its a fitting start to a little new theatre company that said it thinks it can…and did.

Buyer & Cellar continues at Theatre Nova through March 29th, Ann Arbor’s Yellow Barn, theatrenova.org – 734-635-8450

Visually stunning ballet-based “An American in Paris” arrives in NYC (preview review)

I had the opportunity to see the new “An American in Paris” in preview last night in NYC. It already feels finished (the show ran for several months in Paris, with the exact same cast, crew, and designers) where it received raves. Its going to be the talk of the town once it opens, and apparently already is — the audience last night was filled with a virtual who’s-who of New York ballet and Broadway dance professionals.

Ballet choreographer Christopher Wheeldon (and if you don’t know who he is, you better do a quick Google search, he’s a name every dance aficionado instantly recognizes) directs and choreographs his first Broadway musical (or Broadway-Franco musical as the case may be) and this production is all about the dance.

Craig Lucas expands upon the original movie script with background stories for each of our leads, and its a well-written book. The musical score is pure Gershwin. There are some great vocals — in particular the work of Max von Essen as Jerry’s friend Henri. But that is not why people will flock to this musical — here, its about the visually stunning scenic design and the dance. Its all about the dance — even the sets dance — things float, cross, move, flutter, sometimes all at the same time.

In general, backgrounds incorporate projections of chalk then watercolor sketches that depict familiar Parisian landmarks — and its all sort of like one watercolor painting spilling into another from scene to scene — with a bit of late 40s avant-garde thrown in for good measure. Stunning work by Bob Crowley, 59 Productions, and Natasha Katz.

But its all about dance here — big, huge, ballet-informed dance. This is not your typical Broadway musical — this is ballet set upon a Broadway stage, and it is simply remarkable.

Robert Fairchild plays Jerry (Gene Kelly) and Leanne Cope plays Lise (Leslie Caron). Both are lead dancers at the New York Ballet — and their fans will turn out in droves to see them here. While both have good singing voices, and charisma to spare, nobody will mistake their work for acting genius — this is about their Dance — and dance they do — for almost three hours. When was the last time you saw a Broadway musical and wanted the songs to stop but the dance to go on? That is what you get here — in gorgeous, mesmerizing moves both big and small. Fairchild leaps and bounds about the Palace Theatre, and tosses Cope about like a ragdoll — but she is no ragdoll — her dance is precise, emotional, and highly athletic. Late in the final dance sequence, Fairchild does his famous vertical leap — and you hold your breath and wonder, what was that ten feet? 12 feet?

Come for the musical — stay for the ballet — and absolutely get tickets to this stunner of a show. I did not want it to end. I am already planning a trip back to see it again.

Very highly recommended. An American in Paris, Palace Theatre, New York.

Full Speed Ahead “On the 20th Century” Broadway revival – Review

Full disclosure — The original “On the 20th Century” in 1978 is one of my all-time favorite musicals. It is the show that turned me on to set design, and set motion, and integrating movement between actors and the on-stage artistic elements. I couldn’t wait to see the revival, and I loved it too.

Two Comden and Green musicals are playing next door to each other (On the Town and 20th Century) on 42nd Street — and both are “best revival musical of 2014/15” – good luck choosing which is better.

Spectacular Kristin Chenoweth as Lili Garland and good Peter Gallagher as Oscar Jaffee spar, slapstick, and frolic on their Chicago to New York train ride. Don’t know the story? Oscar mentored then had a relationship with Lili in NYC, who eventually left to make movies with her new boyfriend Bruce Granit (A hilarious Andy Karl). Now Oscar needs her back, both for monetary salvation as well as love. His attempts to woo her back are the crux of the story. Throw in a deranged older woman religious zealot (solid Mary Louise Wilson), Jaffee’s two business partners (delightful Mark Linn-Baker and Michael McGrath), and a quartet of tap-dancing porters that bring down the house (literally – they got a show-stopping standing ovation after their Act II opener at my performance) and you have a rollicking good time.

The beautiful art-deco set design by David Rockwell echoes the originals with a budget-mindedness imposed by the Roundabout Theatre Company. Not so much the costumes, which glitter and shine by William Ivey Long. The show has been re-orchestrated for 12 rather than 21 but it sounds full and rich playing Larry Hochman’s marvelous orchestrations of Cy Coleman’s music (note that this is not a revival imposition: the orchestrations were reduced during the original Broadway run). Modern day sound systems do marvels for Betty Comden and Adolph Green’s remarkable book and lyrics. The single mis-step in the show comes late in act II when Jaffee’s penultimate Moment (The Legacy) was re-written by Adolph Green’s daughter Amanda Green with the same tune but new uninspired lyrics (“Because of Her”). It leaves Peter Gallagher without the required 11:00 number and keeps the audience firmly in the grip of Chenoweth instead.

It would spoil the surprises to divulge much more about what this 20th Century has in store for its 2015 audience…but rest assured — you get the interiors and the exteriors — the train rotates, the locomotive comes toward you and moves backwards and forwards (though curiously never toward stage right which means all the antics in drawing rooms A and B are played on Stage Left — purchase seats in house right, they are better — note — box seats on house right are obscured). Some of us will recall the lovely sequence in the ’78 original when two trains pass in the dark…that doesn’t happen here but there are other surprises of a technical nature that were unimaginable back then. The “big chase” of Letitia Primrose from one end of the train to the other is a stunner.

Highly Recommended. Roundabout Theatre Company, at the American Airlines Theatre, NYC.

A2CT’s Lucky Stiff is like a warm puppy (Guest Review)

A guest review by Wendy Wright!!

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A2CT’s Lucky Stiff is Like a Warm Puppy

I must confess upfront that I am a loud and devoted cat fan…dogs, not so much. But A2CT’s production of Lucky Stiff proves that happiness IS a warm puppy. Under the creative and passionate direction of Isaac Ellis, Lucky Stiff sprints along at a break neck speed while keeping the heart intact.

The story revolves around an unassuming English shoe salesman, Harry Witherspoon (Justin Dawes) who is forced to take the embalmed body of his recently murdered Dead Uncle Anthony (Thom Johnson) on a vacation to Monte Carlo. Should he succeed in passing his uncle off as alive, Harry stands to inherit $6,000,000. If not, the money goes to the Universal Dog Home of Brooklyn represented by Annabel Glick (Jackie Gubow), or else his uncle’s gun-toting ex, Rita La Porta (Lauren Norris) and her bumbling brother, Vinnie De Ruzzio (Zak Stratton).

The cast is so enthusiastic, well-staged and choreographed (thanks to Ellis and Kat Walsh respectively), that even opening night set and sound problems couldn’t throw them off their game and actually provided some great laughs.

While some of the cast many exude more eagerness than singing ability, the two leading ladies are vocal and acting powerhouses. Jackie Gubow as Annabel Glick combines great comic timing with a beautiful voice, but it’s Lauren Norris’s Rita La Porta that steals the show. Her voice is magnificent, her presence larger than life and her comic fearlessness hysterical.

You will also spot a different special guest each performance during the nightclub scene in the form of a community luminary. Let’s just hope that the guests to come (Matthew Altruda, Keith Hafner and Ingrid Sheldon) will throw themselves into their parts as completely as current Ann Arbor mayor, Christopher Taylor did on opening night (the man can shake his tail feathers!)

The four piece band under the direction of Jonathan Sills spends the show onstage and sounds great, the costumes by Alix Berneis are adorable and the props by Cassie Mann inventive.

If that isn’t enough, I haven’t even gotten to the DOGS yet. During the preshow and during certain musical numbers a screen above the stage rotates pictures of dogs that are currently available for adoption at the Humane Society of Huron Valley. The partnership is a win-win. The photos really add to the show and I’ll bet more than one of those pups will have found a good home by the end of the weekend (heck, I was tempted and I’m an avowed cat woman).

Credit must also go to A2CT as a whole for continuing to produce these little known gems that you never get to see (a few years ago they tackled another rarity, God Bless You Mr. Rosewater). Other theater companies should take note. Here is a fun, crowd pleasing musical with a manageable cast size. Of course, it might not work as well without an insane genius behind it like Isaac Ellis.

Lucky Stiff continues tonight and tomorrow at 8pm and Sunday at 2pm at the Arthur Miller Theatre, UM North Campus. Tickets are available by calling (734) 971-0605, at the door or at A2CT.org.