Mostly Musical Theatre

“Almost, Maine” at the Dio is simply delightful (review)

In about two hours, 4 actors play 19 characters in 9 scenes that all take place at 9:00 at night in a frozen Maine town called Almost (where it almost got a name, but remains just a numbered territory since nobody quite bothered to follow through). That is a great setup for what is, in essence, 9 short stories that cover the range of interpersonal relationships – from first meeting, to breakup, to divorce, to finding true love.

The ensemble cast play off of each other well. Matt Berdahl, Justin Michael Dietzel, Ann Dilworth, and Vanessa Sawson each get their moments to shine both individually and together in combination (and serve dessert at intermission!) Some of the characters are showier than others, but each actor finds plenty of variation in playing different people in very different situations.

None of the scenes last much longer than ten minutes, and cover a lot of territory in that time — from the meaning of misspelled tattoos, to a missing shoe that represents far more than that. These are vignettes that will leave you laughing, cringing, thinking, and smiling. You will have your own favorite scenes, and there’s a little bit here for everyone.

There’s also a nifty technical effect that will have you asking lighting designer Matthew Tomich how he did it.

Directed at just the right pace by Steve DeBruyne, the evening moves along swiftly and more than once you’ll find yourself thinking “this is just delightful” as you go along. Writer John Cariani has a clear playwriting voice, and he has something to say about people, quirks and all. The show also has plenty of visual things going on and DeBruyne makes good use of the stage space at the Dio. One of my favorite visuals included a couple on the verge of having a big night removing their clothing – layer, after layer, after layer, after layer…after layer.

This is an evening of theater as savory as Chef Jarod’s pre-show meal. Its filling comfort food for both the soul and the brain. You can go to New York City and see the current off-broadway revival there, or you can take a much shorter (and prettier) trip up to Pinckney and see it in your own backyard.

Highly Recommended.

Almost, Maine continues at the Dio through March 2nd. Tickets online at diotheatre.com or phone at (517)672-6009

The mess that is “Oliver!” at Encore (Review)

Against my better judgement (the larger the cast, the more I stay away from Encore productions), I went to see Oliver! last night, mostly to see my friends in the show.

Here’s what I can say. The leads are all quite good. The secondary leads border on bad (with notable exceptions: and all of them are used either in the Undertaker scene, or the Street Seller sequence). And the production as a whole is terrible. I left the show thinking there is no way I can write a review on this, its that bad. But then I though, I really should write a review on this, to warn people expecting a good production of a show that many people love.

There are some sparks of life: Mahalia Greenway is a superb Nancy, trapped in terrible blocking not of her choosing…Tobin Hissong is a fantastic Fagin…and the set looks great and works functionally for the production (which used a turntable in the original Broadway production and fully realized sets in later stagings). The two-piece piano/drum combo sounds like a two-piece combo. They are not credited in the program.

Despite a great set, the lighting is dismal and too dark for this musical. Colors are tinged with yellow and orange throughout, making everything look, well, not London-dirty but Dexter-out-of-gels dingy.

The kids in the show (I know, I know, how can a reviewer knock kids?) lack charisma, and there are too many girls in the workhouse boys sequence which makes the entire “Food Glorious Food” sequence sound too thin and too high. Instead of spunky kids of various ages caught between childhood and a life of servitude, you get soprano and high tenor overtones that wash out any life these kids might have in them. They do better later in Fagin’s gang, but by that point the damage has been done. I wont mention my thoughts on Oliver and Dodger.

Things get better as the mediocre to poor ensemble dissipates and the adult actors take over — and the second act is better than the first, not only because its written better, but because the many ensemble numbers have been finished and gone…This is a production in which the ensemble definitely does not mesh with the more polished professionals, and it is very noticeable.

But my biggest gripe goes to the direction/choreography. What the heck??? There are gaps and holes you can drive a mack-truck through. Songs end and people just stand there. Lines are finished, and people stand on stage frozen for 8 – 10 beats while the music cues catch up. Nobody talks over music cues, they wait until the music sounds its final notes. People look at the door before anyone knocks. Oliver not only has time to escape from the Undertaker, he has time to drink a Redbull tallboy before he goes. Alisa Mutchler-Bauer has impressive credits in her program bio. That doesn’t match what is on stage at the Encore, much of which feels like its blocked by others — the actors themselves maybe? Take the initial meeting between Oliver and Dodger — could it have been drawn out any longer? Oliver sits toward the front of the stage and Dodger appears at the top of the stairs stage right, aware that he has seen his “mark” down below…he stands there for a moment or two while Oliver finishes putzing with his bag, and then “hides” at far stage left under the stairs…Dodger then primps and preens a bit, fixing his hat, making himself look like a sophisticate, and then begins his long slow walk down the stairs…stopping at the bottom to preen some more…then eventually moving toward center to make his first line —OY!!!!! That should have started two minute earlier. This kind of slop is clearly poor direction. Kids will do whatever you tell them to do. This pattern repeats over and over throughout the show. Scenes that should be funny don’t garner a single laugh (“I shall scream”). Choreography in “Consider Yourself” is repetitive, basic-church-basement-theatre pattern-filled, and it just looks bad on stage. This is not the actors fault — they are given bad blocking and choreography to work with.

So — I wasn’t going to review this production. You can see why. But you can also vote with your wallets on things like this. Just because it is there doesn’t mean people will come. Clearly word of mouth is out, because my performance was only half full last night, for a show that should be raking in the bucks.

Not recommended.

Oliver! continues at the Encore Musical Theatre Company (whose next show is not a musical) through March 2nd.

Disney’s Aladdin the musical, Toronto (review) pre-Broadway

Disney’s Aladdin the musical is currently playing in Toronto pre-Broadway. It comes as no surprise that the show is slick, looks great, and is basically Broadway-ready. It is also one of the least magical Disney live-stage musicals, but that’s largely a part of the weak movie upon which it is based. There is nothing wrong with it overall and I liked it very much — but somehow that Disney “magic” just didn’t jump out at me.

Chad Beguelin has done a very good job of adapting the movie script, adding a magic-carpet-load of one-liners (many of the groaner variety), and adding additional lyrics to the Menken-Ashman-Rice score. Casey Nicholaw’s direction and choreography are relatively subdued given his background (Book of Morman, Elf, The Drowsy Chaperone), and I am quite certain that there were no hip-hop moves in old Araby…but its efficient and generally energetic. Bob Crowley’s set design ranges from stunning to passable – its all lovely to look at (think Aida more than Beauty and the Beast or The Lion King), but everything seems a bit subdued. Maybe it’s all the beige and sand-colored sets

Adam Jacobs is an attractive Aladdin, and Courtney Reed a very assured Jasmine. Maybe too assured. James Monroe Inglehart brings a much-needed levity to the affair once he arrives as the Genie, and he seemed to particularly ignite the wee-ones in the audience.

The piece-de-resistance, of course, is that magic carpet ride during “A Whole New World” and it is worth the price of admission by itself — it swoops, flies, glides, and provides sheer musical theater magic. The rest of the show’s stage illusions are good, though nothing comes close to that three minute flying sequence.

I’m going to go on record to say that of the contemporary Disney canon of films, Aladdin is one of the weakest, and its adaptation to the stage will leave you feeling pretty much the same way you did when viewing the film — you’ll either love it, or you’ll leave the theater thinking it is a great show for the kiddies without offering you much more from an adult point of view. Sadly, I fall into that later camp.

Dio Theater announces auditions

The Dio – Dining and Entertainment, Livingston County’s professional dinner theatre, announces auditions for their upcoming production of the original musical, “Country Roads, A Musical Journey” by Leslie Jo Hood directed by Steve DeBruyne, music direction by Brian E Buckner, and choreography by Cara Manor.

Auditions will take place on Sunday, January 12 from 3pm to 6pm at The Dio. The theatre will open at 2:30pm. Anyone wishing to audition must be signed in by 5:30pm. Callbacks will take place the same day at 6pm and will consist of a short movement combination and cold reading from the script. Note that not all actors will be required to attend all portions of the callback.

Please prepare to sing one of the songs listed in the character descriptions. If you play guitar, please bring it with you and prepare to play a short country style tune. No need to bring sheet music for the accompanist if you are singing one of the songs listed below, but please bring a headshot and resume STAPLED TOGETHER as well as a list of any rehearsal/performance conflicts you may have.

ALL ROLES PAID

SYNOPSIS:

Jimmy’s record shop, Country Roads, “Where stars are made”, is the Nashville hot spot for aspiring artists. Not only does Jimmy sell some of the best albums, he features new singers in live performances at the shop! But when a new shop opens, and copies his model, will Jimmy be able to stay afloat, and finally realize his dream of signing a record contract of his own? Along with his pal, up and coming country star Patsy, Jimmy faces some tough questions, while singing some of the best country music ever written! Featuring over 40 of your favorite country tunes, “Country Roads” is sure to keep your toes tapping!

SEEKING NON-EQUITY ACTORS FOR THE FOLLOWING ROLES:

JIMMY (Singer/Actor, 40s – 60s)
The owner of Country Roads Record Shop, and Patsy’s best friend. Plays the song “Country Roads” on guitar. To audition for this role, please sing “Country Roads” by John Denver.

PATSY (Singer/Actor, 30s – 40s)
Loosely based on Patsy Cline, she’s Jimmy’s best friend and confidante. To audition for this role, please prepare to sing “Crazy” by Patsy Cline and “My Give a Damn’s Busted” by Jo Dee Messina

ELIZABETH TAYLOR (Actor/Singer, 30s)
A young, up and coming country star named after the movie star…her parents had a different path in mind for her. Experience with the guitar is a plus for this role. To audition for this role, please prepare to sing “American Heart by Faith Hill.

COUNTRY ROADS MEN (Singer/Actors, 20s – 50s)
Sing many songs and play lots of characters including country legends Ernest Tubbs and Hank Williams as well as a quirky tourist visiting the shop, among many others. Please prepare to sing one of the following songs: One More Last Chance (Vince Gill), If Tomorrow Never Comes (Garth Brooks), Lovesick Blues (Hank Williams) or Walking The Floor Over You (Ernest Tubb).

COUNTRY ROADS WOMEN (Singer/Actors, 20s – 50s)
Sing many songs and play lots of characters including Loretta Lynn and Minnie Pearl, among many others. Please prepare to sing one of the following songs: You Ain’t Woman Enough (Loretta Lynn), Sleeping Single in a Double Bed (Barbra Mandrell) or Redneck Woman (Gretchen Wilson).

Rehearsals will begin on March 3, Mondays through Fridays, 6pm to 10pm, and Saturdays noon to 6pm. Tech will take place 10am to 10pm on Saturday, March 29.

Performances take place April 3 through May 11, Friday and Saturday evenings, and Sunday afternoons. There will be one Thursday matinee on May 8. No performance on Easter Sunday, April 20.

Performers unable to attend this audition may email their headshots and resumes to steve@diotheatre.com. Include links to video of previous performances if possible.

Funniest Television Quotes 2013

So — here they are, in no particular order — my funniest tv quotes of 2013….

“I am an actor — I know everything there is to know about writing.” – Dont Trust the Bitch in apt 23

Lilly: ” I’m not paying 400 dollars for room service the hooker ordered”

Barney: “Ive been there” — HIMYM

“What? All of a sudden Christmas is about family??” — The Middle

“I asked her for a hand with a job…she misunderstood…so I went with it.” — The Crazy Ones

“If you can put that bulldozer back where you found it, we need you to suit up” — Agents of S.H.I.E.L.D.

“He’s married? How could you tell? He doesn’t wear a ring and doesn’t look dead inside” — 2 Broke Girls

“What is Diaper Glossner doing here??” – The Middle

“Okay, Dolphins, Is this a “we” activity or an “I” activity??”

“We,We,We,We,We,We,We,We”

“There, now we sound like dolphins” — Modern Family

“I’m sure you’ll make…well, a mother of some sort” — Once Upon a Time

“Oh my God, she’s on a flip phone — she’s either poor or she’s a time traveler” — The New Girl

“I’ve decided to give up the ladies for a bit”

“Ooh,well that’s bad news for anyone selling pepper spray” — Rules of Engagement

“Anyone can be professionally styled to look good in a photo — I’ve done it myself about ten times at the mall”. — The Mindy Project

“A change in mood is the number one symptom for everything….Parade Magazine had an article about it.” — The Middle

“I can’t lie to that face…you’re like a baby who shaves” — The Crazy Ones

“I love when you get angry…and I mean at others, not me” — Castle

“Pain is temporary, crying hurts you the rest of your life” — Back in the Game

“Switzerland has everything to offer except perhaps conversation…and one can learn to live without that” — Downton Abbey

“He’s a much better singer than a stalker, and he’s a pretty good stalker” — The Crazy Ones

“My body is very attracted to your body, but when you speak my brain gets angry” — The Mindy Project

“This is what happens when we drink…we sign up for stupid committees… or get Brick” — The Middle

“What do you say to a woman when you want to make love to her?”…”Do you accept checks?” — The Crazy Ones

“Sweets is taking a leave of absence because he feels he’s lost touch with his original motivation for being a Psychologist”

“I thought he was a Psychologist because he had sub-standard math skills” — Bones

“Have Fun in Hawaii”

“I’ll bring you back a plastic lei”

“I thought your mother was in Europe” — The Crazy Ones

“You talk like a jock, but your jock-walk’s a crock” — Super fun night

“The attackers are invisible? How cool!…um, but terrible” — Agents of S.H.I.E.L.D

“When you talk like that I am tempted to ring for Nanny and have you put straight to bed” — Downton Abbey

“Everyone hates their jobs, its why there are alcohol salesman…its the circle of life” — Back in the Game

“Indiana Jones is completely superfluous to the story — without him, the Nazi’s still find the ark, open it, and all die.” — Big Bang Theory

“Im sorry, I find it challenging to accessorize for a date to hell” — The Mindy Project

“Don’t you know what “sultry” means?”

“They’re models they don’t know what anything means” — The Crazy Ones

“You got a problem with Poppins, you have a problem with me” — Manny, Modern Family

“There can be too much truth in any relationship” — Downton Abbey

“Do you want to hear something interesting?’

“Not especially” — The Middle

“How do I get her to stop talking to me??”

“Marry her” — The Crazy Ones

“There’s a lot of hate between us.”

“Actually I quite fancy you from time to time when you’re not yelling at me” – Hook to Emma, Once Upon a Time

“If I get another ticket they are going to make me wear eyeglasses” — The New Girl

“Where can I get a new flip-phone”

“Um, let me think…Guatemala” — 2 Broke Girls

“Did you see my car?”

“Yeah, I bet its a real hooker-magnet” — Back in the Game

“You can’t teach how to write”

“Not True”

“And I say that as a writer”

“Also not true” — The New Girl

“I am not two timing…I’m one timing with two women” — The New girl

“I’m afraid that now when we have a real sharknado everyone’s going to treat it like a joke” — BJ Novak

“The water’s rising — I’m going to go up to the bridge and repel down” — Sharknado

“You, me, and my mom have got tickets to see Debbie Reynolds in Sugar Babies!” – The Middle

“Yellow pants for mothers day? Did anyone hear me say yellow pants?” — The Middle

“Oh, so now its snooping, wanting to know more about your family by looking through their personal things?” – Modern Family

Becket: Who is this guy?

Castle: I’m going to go with Government Assassin. — Castle

“Thank you Curious Cat, you get me” — The Middle

Axl: You are the worst mother ever!

Frankie: Oh, tell me something I don’t know. — The Middle

“I’m not good at big decisions”

“Are you sure you want to be a judge?” — HIMYM

“Better than most and Excellent are two different things” — Elementary

“I thought this was a hoedown, but if this is a drivers-license-down then I will just go somewhere else” — The Middle

“I’ve never known Sue Heck to give up after just 5 tries” — Rev Tim Tom, The Middle

“What are you doing, stalking me?”

“We prefer the term “Obsessive American” — Happy Endings

“Do you mind writing that offer on a small slip of paper and then sliding it to me like in a 80’s business movie?” — The Mindy Project

“Nobody settles things with tennis matches anymore — its not the 80’s” – Happy Endings

“I never thought I’d be on a tv show where nobody was yelling ‘You’re not the father!'” — 2 Broke Girls

“They cant just cancel a season on a cliffhanger…Firefly followed it up with a movie…Buffy and the Vampire Slayer followed it up with comic books…Heroes lowered the quality season by season so we were just greatful it ended” — Big Bang theory

“Keeping Portland weird” — Grimm

“You’ve heard of Doctors Without Borders — well we were Nurses Without Credentials” — 2 Broke Girls

“I assume he didn’t start stripping as a child”

“Well, at least not professionally” — Bones

“Jason Bourne called…he says he remembers more things than you” – Happy Endings

“We hooked up once…and then only twice…and then one more time” — The Mindy Project

“We’ll go when we’re good and ready…which is now because I’ve been ready to go for quite some time” — Happy Endings

“You’re awfully salty about that….” — The New Girl

“Redheads in particular can be skittish” – Suburgatory

“They were just two kids doing Shakespeare in the park and each other in the parking lot” — Happy Endings

“The only thing that scares me more than snakes is warewolves, and fortunately they are only in Europe” — Cougar Town

“I can imagine us, one day, being friend-like…” Tessa to Dahlia, Suburgatory

“I’m not controlling…I’m aggressively helpful” — Happy Endings

“in Poland, this is the time of year that the snow melts and all our dead relatives float back to us” — Two Broke Girls

“Lots of things blow up in your face…that’s part of being a woman” — Two Broke Girls

“Please don’t overdose…if your not famous, its just sad” — Whitney

“When you see the future, there is irony everywhere” — Rumplestilskin, Once Upon a Time

“You should definitely tell that story when you host The White Trash awards” — Cougar Town

“Who knew Marty was such a fan of powders?…and now, ironically, he himself is a powder” — Suburgatory

“Destiny might be a lady, but victory has a penis — direct quote, Scott Caan” – The New Girl

“That’s what family is — people who hate you but can’t kill you because they’ll be the first ones questioned” — 2 Broke Girls

“Wow, she’s kind of a monster, but she gave me free stuff, so I’m torn” — 2 Broke GIrls

“My dear you flatter me, which is just as it should be” — Downton Abbey

“Plus the cast of Prometheus will explain what the heck was going on there” – Seth MacFarlane, The Academy Awards

My secret admirer requested me to wear a hat with a feather in it…I’m like, “which one” — Manny, Modern Family

“I’ve been tied up in bed, and not in the good way.” — Hook, Once Upon a Time

“That was nice making people feel bad about themselves, if even for a few minutes”…CougarTown

Amy: “You’re a coward”

Sheldon: “Well, the evidence would support that.” — The Big Bang Theory

“Damnit, Bradley, why can’t you do this? You went to drama camp for Christ sakes”…Bradley, The Middle

“Look at us, we’re like ‘Homeland’ if it was a rom-com” — The New Girl

“He’s like my dad mixed with my mom mixed with my other dads” — Whitney

“I both hate you and want to be you. This is Ryan Gosling all over again” – Big Bang Theory

“Older members of the Academy are having trouble submitting their Oscar votes this year because for the first time they are voting online. The good news is that Les Miz has gotten a lot of votes for best Picture; the bad news is, most of them were typed into a microwave” — Jimmy Fallon Late Night

“Whenever I have a panic attack, I put a brown bag over my face, and when the alcohol is all gone I feel much better” — Ellen

“Hold on, hold on…who are the two cute puppies in the kitchen?” — 2 Broke Girls

“Dad, we have to go to the mall”

“The Lincoln Memorialy one, or the real one?” — 1600 Penn

“Shy? You told him I’m shy? I’m not shy! If anything, I’m “stoic” — The Middle

“If this works, I can repopulate it with has-beens and sell it to Fox…BeachHouse!” — The New Normal

“That’s the murder victim’s body guard!…she’s net very good at her work” — Castle

“Is this couch a pod, cause we, sir, are two peas in it” – Don’t Trust the B

“I’m sorry I say a lot of things I don’t really mean – like “Ill pay you back” or “I’m good to drive” — Happy Endings

“If you are going to start to compare wands and hammers, I can’t even take you guys seriously” — The Big Bang Theory

“Morons don’t get enough respect” — AFV

“Why the heck would you need water when we have orange and purple Fanta right here?” — The New Normal

Laurie: Matthew McConaughey plays the same guy in every movie.

Grayson: McConaughaters gotta hate ….. Cougar Town

“Irving Berlin’s White Christmas” Shines at Croswell (Review)

Late to the game in reviewing Croswell Opera House’s “Irving Berlin’s White Christmas”, I just wanted to pipe into the already growing number of rave reviews with a rave of my own.

First, in the world of musical theater when it comes to super-spectaculars like White Christmas, Croswell Opera House is one of the only theaters in SE Michigan that can do it right — full glorious sets (Michael Lackey), a full superb orchestra (21 pieces under the able direction of Wynne Marsh), sharp costumes (Pam Krage), good lighting and sound (Tiff Crutchfield, Tyler Miller) and every detail just right in the swiftly moving evening directed by Betsy Lackey and choreographed by Sarah Nowak.

Second, when everything clicks on all cylinders at the Croswell, it creates musical theater magic (witness Seven Brides for Seven Brothers a few summers ago). And that is what the group has in this shining production of White Christmas. There are too many highlights to mention here, but let me particularly point out the superb tap-stravaganza opener of Act 2 “I Love a Piano” and of course that lump-in-the-throat, obligatory red-costumed finale “White Christmas” with snow in the audience.

Jim Craig (Bob Wallace) and Joe Dennehy (Phil Davis) show great chemistry together as song-and-dance partners (Bob more song, Joe more dance), and they are matched in charisma by sister team Betty and Judy Haynes (Mackenzie Dryer and Libby Bruno). Jim and Mackenzie work well together in their off-again-off-again-finally-on romance, and Joe and Libby create fine dance moments together. Libby Bruno, in fact, is a remarkable new find for the Croswell — she’s a singing, dancing, acting triple threat — she and Mackenzie could be sisters in real-life they look, sound, and move so similarly. Also strong is Sarah Nowak as Martha Watson, Keith Hamen as General Waverly (come on, Croswell, there had to be better uniforms downstairs in the catacombs), and a delightful young Rio Doyle as Susan Waverly.

The very good ensemble taps and dances their way through many (many) numbers — from “Happy Holiday” through “Blue Skies”, the aforementioned “I Love a Piano”, “Snow”, and many other familiar numbers. The musical itself takes the best of the original movie and adds a few additional Berlin standards and not-so-standards to round out the evening.

I’ve seen the professional production of White Christmas so many times (probably about 11), and I have to admit that I miss the Randy Skinner choreography, which is so intertwined with everything happening on stage — but Sarah Nowak here has created good original work, and things look sharp — though I kept wishing the opening number would open up more, as it was entirely cramped into one, hiding the sets behind the first traveler — contrast this with the finer duos, trios, and couplings in “Blue Skies” at the end of Act 1 when things are allowed to open up full stage.

I know this review is too late to sell tickets (the show has one final performance this afternoon), but don’t delay in buying your tickets to next season’s shows. They’ve already announced an exciting summer 2014 line-up, and White Christmas has completed a very successful 2013 season for them.

May your days be merry and bright, and may all your Christmases be white.

Gentleman’s Guide, Big Fish, Beautiful, Little Miss Sunshine – NYC Reviews

Catching up on the current new musicals in NYC (fall 2013) here’s the scorecard — reviews follow —

A Gentleman’s Guide to Love and Murder — Walter Kerr Theatre — A+

Big Fish — Neil Simon Theatre — B+

Beautiful, The Carol King Musical — Stephen Sondheim Theatre — B

Little Miss Sunshine — Second Stage Theatre — C

Let’s start with the worst, and lead to the best….not to say the worst it horrible, but there’s a far cry difference between the mediocre Little Miss Sunshine and the sublime Gentleman’s Guide ten blocks north…

LITTLE MISS SUNSHINE, the musical — At Second Stage Theatre, William Finn (music and lyrics) and James Lapine (Book and direction) have molded a mediocre musical out of mediocre material and managed to somehow drain it of charm. The movie itself is a bit of an odd choice for an adaptation (mostly a character study of the members of a family stuck together on a road trip which is unlike any family I’ve ever known). It all leads to a junior pageant, and this show’s funniest and brightest moments. In fact everything that happens at the pageant here is delightful, while everything that does not is droll.

An excellent ensemble cast (Will Swensen, Stephanie Block, Rory O’Malley, David Rasche, Logan Rowland, and the spark of light Hannah Nordberg with a slew of others) is given number after number of not-really-funny-but-not-terrible-either character songs on route to the pageant. The show finally comes to life as the other contestants take over the stage and bring some energy and (at long last) hilarity to the proceedings.

This is a limited run, and if you must see it you won’t hate it. You just won’t like it either. Maybe you will. Some people seemed to love it the evening I saw it. Most sort of shrugged their shoulders and said “meh”.

BEAUTIFUL, THE CAROLE KING MUSICAL is a solid jukebox musical with more songs than you can shake your groove thing to. It looks and sounds, well, beautiful in the relatively new Stephen Sondheim Theatre (unique in that it’s underground, rather than entering at Orchestra level). The standout here is the stellar performance by Jessie Mueller as Carole Klein/King. Her voice resembles though never mimics Ms. King’s, but has enough of a Brooklyn twang that you can easily imagine the woman she embodies throughout the production. You simply can’t take your eyes off of her, even when at times you should be watching the wonderful things the ensemble here is doing.

If Detroit has Motown, and the other side of the Hudson has The Jersey Boys, then Manhattan has The Brill Building and Carole King. The score is comprised of an anthology of King/Goffin songs, and is augmented by a handful of competing compositions by Cynthia Weil and Barry Mann. The production effortlessly showcases the factory that was The Brill Building on Broadway in a way that Motown never achieves in its Detroit-based showcase of songs. But the musical doesn’t hit the emotional, nor energy-based highs of Jersey Boys…call this Jersey Boys Lite.

Still, Ms. Mueller and company should have an excellent long run at the Sondheim Theatre, and its a show to which you can take the whole family — especially if its female-laden — after all, as it is stated in the show, “Carole King is a girl who writes songs for girls.” The audience around me clapped, nodded, danced, and head-bopped throughout the show’s two-and-a-half hours.

Jake Epstein plays an understated but handsome and clear-voiced Gerry Goffin — Ex-Jersey Boy Jarrod Spector is an excellent Barry Mann, and Anika Larsen is effervescent as Cynthia Weil. Along with Mueller, the quartet give this show heart and warmth.

The entire production moves along rapidly on a multi-tiered and many-layered set (at one point I started wondering how much hang space this theater has, and if they need to do rafter-based swap-outs during the show) and the costumes are divine.

The sole problem as I see it, is that there isn’t much drama here — when all is said and told, the decade that the musical covers shows Carole King’s ever increasing stardom, talent, and respect — balanced by the “drama” of a divorce. Call me old fashioned, but divorce is divorce – get over it already. It doesn’t in itself have enough “meat” to make you really think this performer had a “hard knock life”. It is fun, though, to see how the songs and lyrics of her later “Tapestry” truly do play out things that have happened to her — or maybe Jake — or maybe their friends. Recommended, but don’t expect more than what-you-see-is-what-you-get.

BIG FISH the musical, is ending its short run at the Neil Simon Theatre all too soon — its a good show that deserves a longer run…there’s clearly something going on from the Producing end of things when such audience-pleasing and sold-out shows like Big Fish and Bonnie and Clyde end their runs before New Years so that their producers can write off the tax loss this year instead of a year down the line which might have been a healthy run for this show. (Don’t be surprised if, despite being closed, it gets nominated for Best Musical this spring).

Norbert Leo Butz is the star here as Edward Bloom, tall-tale spinning patriarch of the Bloom clan, told in present day (Bloom is dying of cancer) while his estranged son (Bobby Steggert) and loving wife (Kate Baldwin) alternately work at understanding and supporting their father/husband.

The secondary star of this production is the dazzling wood-and-projection set designed by Julian Crouch and Benjamin Pearcy, with superb lighting by Donald Holder. Scenes rapidly fly from location to location (and they are legion in this production)…trees sway, clouds swirl by after a thunderstorm, mermaids swim, and yes, Daffodils smother the stage in the Act I finale.

But its a show that, like the movie, is a “male-weepie”. The father-son story at the core of the musical isn’t as strongly developed as that in the movie version, but it pulls at the heartstrings none-the-less. And the “is it real or were they all tall-tales” finale plays out simply and emotionally. Lots of kleenex at the end of this one.

Catch it while you can, though — it closes December 29th.

Finally, I can not say enough wonderful things about the simply perfect musical theater confection A GENTLEMAN’S GUIDE TO LOVE AND MURDER. And you won’t have to rush to try to see it before it closes — its going to keep the Walter Kerr Theater filled to capacity for years and is currently the front-runner to win Best Musical at this spring’s Tony Awards (lets see if Rocky is as good as everyone says it is).

No detail is too small in this devilishly funny musical about a young man (Bryce Pinkham) who learns that only 8 relatives live between himself and a fortune inheritance as he sets about to (hilariously) end their suffering one by one (all 8 are played by the chameleon-like Jefferson Mays)…but don’t let that scare you off: this production has more in common with The Mystery of Edwin Drood than it does with Sweeney Todd. Cross Drood with The Drowsy Chaperone and any Wodehouse novel and you have the delightful tale.

Lutvak and Freedman have written a hilarious (and melodic) score that sweeps from operetta to music hall, with plenty of Gilbert-and-Sullivan thrown in, mixed with just enough pop influence to keep the songs moving along. By evening’s end, bees attack, ice breaks, petticoats come off, doors slam, and escapades ensue. Its the cleverest and funniest show I have seen in years. Award winning director Darko Tresnjak knows when to play up character bits, and when to let things ride and play themselves out.

The big winner here is the audience — the jokes and non-stop puns are side-splitting, and in the intimate Walter Kerr theatre, everyone feels like they are “in” on the jokes. And in a rarity on Broadway these days, its a show aimed squarely at the adult audiences that you absolutely don’t need to worry about bringing your kids to (though I am going to guarantee you that they will be bored within the first few minutes and they should be left at home).

Very highly recommended. Jefferson Mays is a national treasure…or he oughta be.

Lovely night of “Moonglow” at Ann Arbor Civic Theatre (Review)

There are rare evenings of theater that you want to hold onto and cherish, to remember and talk about, and to see with your loved ones…Ann Arbor Civic Theatre’s current production of Kim Carney’s Moonglow is one of those pieces.

Spanning a year, it takes place in an Alzheimer’s care facility in Michigan — but it spans half a century in memory sequences, events, and changes — often simultaneously. I did not have the chance to see this play in its world premier at The Performance Network many years ago — but I am very glad I saw Civic’s production last night.

Nancy Heusel is the indisputable star of the play and a fireball of energy in the role of Maxine, newly placed in the facility by her daughter Diane (a strong Laurie Atwood). Her performance ranges from can’t-hold-her-back dynamo to moments that are so nuanced that she can convey with the move of an arm or a glance more than words can express. This is the type of performance that the theater goer will remember a lifetime. In fact you can’t imagine anyone else playing the role.

Nancy is matched by a great performance from David Keren as Joe – he’s funny, warm, and ultimately tragic.

Katie Parzych and Matt Berdahl portray younger “memory” versions of themselves and shades of former husband/wife…to let on too much here would be to spoil the enchantment. Both Parzych and Berdahl are excellent in their roles — be that portraying people in the long past, or jitterbugging away the night in the 40’s.

Rounding out the cast, Julie Landry plays Benita, nurse and manager of the care facility, and Carl Hanna plays Greg, Joe’s son trying to come to grips with a father who no longer recognizes him while trapped in an ever decompensating Alzheimer state where living people have already become shadows.

But don’t let the themes here make you think you are getting into a devastating evening of high drama — while themes of life, death, and coping with changes do rule the primary themes, Carney’s writing is funny, observant, and the play exactly what it is described as: “a reflection on love and memory.” — Even in its most serious moments, you might find yourself smiling, and nodding in recognition. Universal themes of parental care, safety, and interpersonal relationships ring true throughout and this fine cast brings these people to dynamic life.

Cassie Mann has done an excellent directorial job – keeping things moving at just the right pace, and the production is slick and looks great at the Arthur Miller Theatre.

Don’t miss this production — its one to be cherished for years to come. Continues at the Arthur Miller Theatre, UM North Campus, November 7 – 10. A2CT.org for tickets.

Merrily We Roll Along – Menier Chocolate Factory US screening (review)

First, thank you to Fathom Productions for bringing the West End musical version of Sondheim’s Merrily We Roll Along to American audiences — sold out in NYC, 30 people in the theater here in Ann Arbor… its a great risk, and a tremendous thank you.

Second — I directed this same version of the show many years ago here in Ann Arbor. Just like this past week, it left me scratching my head…its a show with such a terrific score, and such a horrific book. The late Ron Fracker and I specifically wanted to pick a show that would be assessable to the student actors in his musical theater program. We learned only after contracts had been signed that the original Broadway version was no longer available, only the uber-serious York Theater revisal. And so it went. I thought we did a darn good job — and compared to what I saw at the theater this past week, we did a DAMN good job.

Third — I don’t get the rave reviews this show got in London. It was certainly a very well directed and acted production of the problematic show — but it certainly wasn’t any better than any American version of the show I have seen. A great production of a bad show is still a mediocre evening overall.

I very much enjoyed Mark Umbers’ Franklin, Jenna Russell’s Mary, and Damien Humbley’s Charlie. The trio worked well together (even if Russell was a bit pitchy here and there), and you could clearly see the chemistry in their triad. Supporting players were solid. American accents came and went, particularly in the ensemble.

As has been the case since the inception of the show, the Second Act worked better than the first, of course all the best songs are crammed into those final scenes.

Among the more curious moments: editing which kept cutting away from Mary during the reprise of “Not a Day Goes By”…that song is about HER…what the….the extreme close-up of Beth during her original “Not a Day” when she most strained to hit the high notes…the cuts made in “Musical Husbands” at the start of Act II…and the curiously flat “Its our Time” finale.

Again, thank you Fathom — but I don’t get the British 5-star reviews.

Hello Dolly! tour with sparkling Sally Struthers (review – Toledo)

As Hello Dolly! continues its 2013-2014 tour, I had the chance to see it in Toledo at the Stranahan Theater today – it has already played in Detroit last week. And the news is good. The production is solid, and the cast excellent. Sally Struthers sparkles as Dolly Levi (a role, incidentally, that she has been playing in different productions for YEARS, not unique to this tour).

Hello Dolly! has always been a show one either loves or hates. Its story is a bit puzzling no matter how well its done, and the secondary storyline spends far too much time in the spotlight — and the same goes for this production.

Jeffrey B. Moss directs with a quick pace (most of the time) although some of the more talky scenes bog down. Bob Richard provides clean, basic choreography (with strong ballet lines, especially during the “Dancing” sequence) and when it works, it works very well. Some dance sequences have been cut for this production. What is missing is Gower Champion’s flare for making everything larger than life and his iconic movements in some sequences. Entirely re-imagined here, Richard’s are not as good as the originals.

Costume design is excellent throughout (bordering on My Fair Lady-ish at times) by Vincent Scassellati. The curiously uncredited set design (Randel Wright is considered the “scenic coordinator”) points to a tour set that has been assembled from other productions designs. Charlie Morrison has created fine lighting effects (his lighting for the sequined Manhattan backdrop at the end of Act I is particularly effective).

When the stage magic it is at its best, its stunning here — musical theater magic occurs multiple times during the production — the Hallmark-card-like train that enters and exits the Yonkers station for example — and Dolly’s descent down the stairs at Harmonia Gardens. Others are a bit off — the too-sparse set for Irene Molloy’s hat shop and the non-existant set for several of the dance sequences.

Speaking of Irene Malloy, what a find Lauren Blackman is! Her clear, strong voice shines throughout her multiple numbers. John O’Creagh is a likable Horace Vandergelder, and he and Struthers shine in their scenes together. Garett Hawe continues his conquest of strong comic dance roles (having already conquered Newsies and Mary Poppins) as Barnaby Tucker (one of the strongest portrayals of this part I have seen on stage), and Matt Wolfe (a superb singer/dancer/actor) is overdirected and over-stylized, but won me over by the time the show reached “It Only Takes a Moment”.

And then there is Sally Struthers — her portrayal of Dolly Levi is warm, friendly, and funny. She’s charismatic and her vocals are in fine form — she is far stronger as a vocalist than Carol Channing ever was. Her “So Long Dearie” is a marvel — when comedy, heart, and musicality all come together to create another magical stage moment.

The audience was on its feet as the show reached its final sequence — and deservedly so — its a topnotch cast from top to bottom, and they bring life and energy to this now 50-year old musical (can you believe it???). Hello Dolly! shows its age more than once in the show — even in the mid-60’s it was far from “edgy” and the term “corny” doesn’t fully capture the schlock in the script — but its a golden-age of musicals chestnut, and its well done here. Hello Dolly, indeed…its a show that has gone away too long….and I’m glad she’s back where she belongs.

Recommended.