Billy Elliott has posted a closing date in Chicago for November 28th. This sit-down production (Actually called the First National Tour) will head to Toronto next for an open-ended run.
The Second National Tour continues strong in North Carolina, and heads into Cleveland next where it will play through the holidays.
The Broadway production continues to play to full houses. Three productions with three sets of Billys…that’s a lot of Billy’s!
“Into the Woods” presented by the University of Michigan Musical Theater Program, is the only local production of this (way way overproduced)show that I have seen that does it the way it’s supposed to be done. I had the fortune to see the original Into the Woods on Broadway when I was living there in the 80’s with it’s spectacular cast including Bernadette Peters, Chip Zien, and Joanna Gleason.
UM’s production is just lovely — from the set, lighting and costumes, to the very fine vocal work – especially the choral work here. Kudos to musical director Cynthia Kortman Westphal and director Mark Madama for the magic onstage.
The student actors are indistinguishable from a professional tour cast. Eric Maler and Amy Blackman as the Baker and his WIfe turn in fine performances, as does Rachel Bahler as the Witch, but the entire ensemble cast here is superb. I especially enjoyed Andy Jones in his duel-roles of the Wolf as well as one of the Princes. He’s a hoot in both.
The show works particularly well in the Lydia Mendelssohn Theater – large enough to make it a true proscenium musical with a full orchestra, but intimate enough that you can literally hear every word. Congratulations to the excellent sound design here.
Get out of the house, go see this “Woods” even if you have seen the show multiple times before (and how could you not have, given it is one of the most over-done musicals from elementary school to regional productions). Unless you have seen the show on Broadway, you haven’t seen it like this. Every joke, every piece of dialogue, and every note in Lapine/Sondhem’s work is nuanced and clever. It’s not either of the artists’ strongest works, but it is their most accessible by far. As you get into Act II (yes, folks who have done the show in primary and junior high schools, there IS an Act II), the story takes a decidedly more adult turn with all the grand themes of death, survival, coping, and rebirth that make all musicals soar.
Giants can be right. Witches can be good. And you will have a wonderful time venturing into these “Woods”.
I missed a couple last month — but this is the current list of musicals that are slated for closure on Broadway in the coming months and the last two months. Surprisingly, the drab A Little Night Music continues on with star Bernadette Peters having breathed new life into the show. Besides the shows listed below, the current musical most in danger of posting a closing notice is American Idiot, now running at less than 55% house but hanging in there with a huge publicity push (including an appearance on the recent America’s Got Talent)
August 22 – South Pacific – Closed – on tour
Sept 5 – Come Fly Away – Closed – tour to begin 5/11 in Chicago
Dec 12 – Scottsboro Boys – Closing
Jan 2 – Promises, Promises – closing with no replacement of stars
Jan 2 – Bloody Bloody Andrew Jackson – closing
Jan 2 – Fela – closing
Jan 2 – West Side Story – closing – currently on tour
Jan 9 – In the Heights – closing – currently on tour
Jan 16 – Next to Normal – closing – currently on tour
For the uninitiated (and there seemed to be a lot of them in the sold out Fisher Theater last night) West Side Story seemed to surprise and cause audible gasps in the young ones as the story played out in its final minutes. For those who know the show (most of the audience) this current Broadway Tour of West Side Story was a pleasant (if bland) evening of musical theater.
The cast is pretty. Very pretty. You can see them here: http://www.broadwaywestsidestory.com/tour-cast.html
And that is part of the problem here — none of the kids in the show look like they are in any imminent danger, nor do they represent the cross-section of real-looking people found in the movie and previous Broadway incarnations. As a result, you mostly want to reach out and pat their handsome heads and give them a soda and tell them to go home. There is little grit in this production, no matter how much finger snapping and grimacing you get from the boys.
The girls fare better, but only come to life in “America” and the “Dance at the Gym” sequences of the show. I won’t mention any of the actors by name, because none of them stand out. They are all good, yet they are all interchangeable. Not one of them had that “spark” that one expects at this musical. Tony and Maria are pleasant and bland. Bernardo is likeable and bland. Anita brings some life to the stage in “America” but otherwise is pretty and bland.
The sets and lighting are sparse and colorful (!) This isn’t the menacing and “horrific” musical first seen in 1957 with Oliver Smith’s Tony-winning sets. This isn’t the real New York Upper West Side used for the film. This is colorful, sparse, set design splashed with oranges and reds and deep blues that make you think, hmm, what a pretty color, not “hmm, this is dark, what’s going to happen next?”
Arthur Laurents directs (at age 91) in a production that only partially succeeds in mixing Spanish with English. I understand the Spanish has been toned down from the Broadway production, but not having seen it in New York last year, I can not tell you how much. There still seemed to be too much of it, particularly in Act Two. Lin-Manuel Miranda (In the Heights) did the translations, with help from his father for idioms and color.
Jerome Robbins choreography is lovingly recreated here by Joey McKneely (who has directed multiple productions of the show himself), but it never catches fire. Except for the aforementioned girls-driven “America”, there really isn’t a moment that you stop and realize what ground-breaking choreography this was in 1957. Instead, you nod your head pleasantly in the remembered steps that you’ve learned to copy in community or college productions of West Side Story that you yourself have been a cast member of. And more shockingly, for those of us who had the chance to see Jerome Robbins’ Broadway in New York, the superior dancers in that production.
There is nothing wrong with this production of West Side Story. There is also nothing to differentiate it from any of the other productions of it that you might have seen. The emotion is intrinsic to the piece, and the performers in this particular production do little to stamp any personality on their interpretations. Perhaps that is a function of the direction. Perhaps it’s the function of being too pretty for the parts. And perhaps, it’s because shows like “Rent”, “Spring Awakening” and “American Idiot” have forever changed how we look at youth on stage in a more realistic manner.
The show received a standing ovation, so perhaps I am in the minority on this one — but I heard many comments on the way out of the theater along the lines of “I liked the original better”. I wasn’t around to see that one live on stage, but I have a feeling they were right.
In the past, Croswell has been the sole not-fully Equity regional theater that I have reviewed in this blog. I do so for a reason — they quite simply present the best musical theatre being produced on a non-professional (or educational, read University of Michigan) basis in the area.
I can’t do a full review for Damn Yankees because I left before intermission. This is sloppy work, and screams community theatre from the getgo. The continuity mistakes in turning the Washington Senators into the Detroit Tigers are consistent and the concept here does not work. I’ve seen this concept work once at the Huntington Playhouse in Bay Village, OH many years ago. It doesn’t work here in Adrian.
Costuming is poor, the sets passable at best, and the production numbers have no life. The (very small) men’s ensemble tries. It tries hard. It does not succeed. The women fare better overall. The sound, as it has been all summer, was poor.
The show comes to life only when Mark DiPietro appears, He is superb as Applegate. Sorry, Mark — I couldn’t make it through this (long) show.
Damn Yankees strikes out. It’s a cliche. But its an apt cliche for this production. Looking forward to future performances at Croswell, but I can’t recommend this one.
I love discovering new musicals that I have neither heard of nor seen, and then seeing them done well. Such is the case with Five Course Love at the Williamston Theater. This professional theater company continues to impress with their work, and this production is top-notch. An easy drive from Ann Arbor, this side of Lansing, it’s a great night out.
Laura Croff, Aaron T. Moore, and Matthew Gwynn in Five Course Love. Photo by Chris Purchis, Williamston Theatre
Three actors perform fifteen roles in a series of mishaps at differently themed restaurants, all loosely revolving around the theme of love. The music roughly follows the theme of each restaurant (country/western at the BBQ; fifties-pop in the diner; etc). Playwright/Composer Gregg Coffin has written a dandy show — one that deserves more stagings in the future.
The script is clever and funny. The music is musical. The lyrics are hilarious (and at times, bawdy — keep the under-13’s at home for this one). It’s a very difficult piece to perform, but it’s done well here. The cast did look tired heading into the final scene of the show; and the show itself does go on a bit long in one or two of the scenes.
Laura Croff, Aaron T. Moore, and Matthew Gwynn each contribute a handful of characters – at times more than one at once! They are personable, generally sound good together, and are clearly having tremendous fun. Harmonies suffer in a few instances, but that does not distract from the general goings-on. Musical accompaniment is provided by Jeff English, who is also the Musical Director. He has performed a great job with the cast, and he joins in on the fun from time to time as the performance progresses.
Bartley Bauer has designed a serviceable set; its gorgeously lit by Ted Rhyner with great costumes by Melanie Schuessler. At times, the costumes and props take on a life of their own (i.e. Laura’s leather ensemble as Gretchen; the horses in the Ballad of Guillermo).
But the evening wouldn’t be possible without the terrific direction of Tom Woldt. He uses cleverly repeating patterns that set character against character, and makes excellent use of the smaller theater space. It’s all tied together nicely in the final scene. This is fine directing.
Grab some tickets, bring a date, and go laugh. This is a wonderful summer surprise. Bravo to the Williamston Theatre for taking a risk with this lesser known work, and for giving it a top-notch home for the summer.
Williamston Theatre, Williamston Michigan – Tickets by phone at 517-655-SHOW.
A week after seeing a few new musicals on Broadway, I’ve still been thinking about each of them, and that says a lot.
The 2010 Tony Award Winner for Best Musical (along with a handful of other awards), MEMPHIS has clearly found a longterm home for itself at the Shubert Theater. Long in development (several years and several different theaters), it was all worth it for a show that is tuneful, current, and has something to say. I have to admit that until I saw the number the show did on the Tony Awards, it wasn’t a musical that was high on my radar. In fact, there hasn’t been a single commercial or advertisement for the show out here in the midwest, and their marketing efforts have clearly been aimed at the East Coast.
But it’s terrific. Chad Kimball is outstanding in the role of Huey, and his “Memphis Lives in Me” is soul-stirring. Montego Glover plays his muse, singer Felicia Farrell. Their chemistry together sizzles. The show tells of the birth of rock-and-roll in early 50’s racially segregated Memphis, and it’s a doozy of a story. While not a true story, it brings together real-life elements and is loosely based on real people and events. If the finale smacks a bit of “Hairspray”, it’s not a bad thing. “Steal your Rock and Roll” has been running through my head all week.
This show is almost entirely the same crew that brought us Jersey Boys several seasons ago. It just as slick, fast-moving, and high-tech. I loved it and am ashamed to say I waited 10 months to see it. Highly Recommended.
Over at the Longacre, a different treat altogether is in store:
Tony Winner Douglas Hodge and delightful Kelsey Grammer are having the “Best of Times” creating the world that is La Cage. An import from London’s Menier Chocolate Factory (and much better than their Night Music running across the street) the show is a sheer delight from start to finish.
I have never been a huge fan of this show — until now. I’ve seen all three major productions of it now, and the previous two were overblown and Hello Dollyesque (original production) or just heartless and empty (first revival). This import is a horse of an entirely different color – and it’s a wonderful change.
Gone are the huge overblown production numbers and Ziegfeld-quality gowns. Instead, cue the new Cagelles — 6 superb and athletic (and no-mistaking masculine) drag queens who you would never mistake for Vegas show girls — they trip over heels, flex their muscles in the middle of numbers, and at one point perform a number with inflated beach balls that they toss into the audience that it makes you marvel at the ineptness of it all — and it’s perfect. When the audience gently bounces the beachballs back to the stage, the Cagelles don’t hesitate to kick them back into the audience as if they were going for an overtime Field Goal. It made me laugh out loud.
No less brilliant is Robin de Jesus as Jacob the butler/maid. He’s over the top and fabulous, and a far cry from his recent role in In The Heights. A shout out to University of Michigan’s own A.J. Shively as Jean-Michel.
By the time ZaZa has performed “The Best of Times is Now”, you have long been won over by this wonderful production, clearly the best I have seen of this problematic show. It left me wanting to spend more time in this “Cage”, madwomen or madmen and all.
My final show on this trip was Come Fly Away at the Marquis Theater.
A new Twyla Tharp “musical”, it’s similar in style and form to her superior “Movin’ Out”, but it makes for an enjoyable and light evening of dance theater. Because that is exactly what it is — I don’t know how they qualify dance shows to be classified as “musicals”, but this is dance theater no doubt about it. There is no storyline, there is no original music (it’s all set to Sinatra tunes) and there is no standard musical theater format. I have to admit that the only reason I went to see this is because I have seen every other musical of interest on Broadway right now, and at least it was something new.
Yet it all works, thanks to Twyla Tharp’s excellent choreography, and her very talented dancers, including stalker-worthy John Selya (who played Eddie in Movin’ Out). In fact, many of the dancers in this production have previously been seen in Tharp’s previous dance shows – both on Broadway and in dance concerts.
Set in a nightclub, live orchestration accompanies Sinatra’s own voice singing the songs, with occasional harmony from a female singer. The dance couples arrive, fight, mingle, form new couplings, and by the second act are pretty much inexplicably shirtless and dancing their muscled bodies about the club as they toss their female counterparts around the stage as if they were pretty ragdolls.
It’s gorgeous dance – and it’s a wonderful night of dance theater. But it isn’t a musical. I completely enjoyed this dance show – but that is what it is, plain and simple.
See it while you can — I saw it on a Saturday night, and the house was probably only at 80 percent sold — and half of that from discounted tickets.
So, that’s the view from Broadway right now.
I have to preface this review by stating that A Chorus Line is probably my favorite musical of all time. Its written perfectly: it hits the jugular for musical theater performers like no other show ever had before it’s initial run, and none has since. The choreography is pointed, clean, familiar and fast paced. And the entire evening holds together in a way that was groundbreaking at the time. It is also dated, but forgivable when done as a period piece (oh, to say that about this show!)
Croswell Opera House is currently presenting a decent production of the show, and for non-Chorus Line fans, probably a more assessable production than many. But it is not without its problems.
The Ensemble is generally good — there are better performers and there are weaker performers, but they are both directed and choreographed appropriately to form a blended ensemble unit. Since this show is a true ensemble piece, I will not pull out any individual performances for comment, except for the exceptional Lindsey Denham in the difficult role of Cassie. Her performance is equal to any professional Broadway performer in the role. Other featured roles vary from fantastic to average.
Everything looks great set and costume wise, and the lighting is effective and well-timed to the performance.
The sound is poor. Microphones pop, crackle, and even sputter out. In this instance, it is NOT the fault of the soundboard, who do a very good job of making sure no sound cues are missed. Rather, it is the elements in the body mics themselves — problematic in every Croswell show the past year or two, and very problematic here when you add near-constant body-movement to the mix. I know elements are expensive, but good ones are invaluable to your sound design. Someone please donate a few thousand dollars to Croswell so they can fix this.
Jonathan Sills has done his usual methodical and professional job with the vocalists and with his terrific orchestra.
Director Matthew Bowland does a serviceable job of moving everyone about the stage and creating stage pictures that are reminiscent of the original production while having his own style. Where things go wrong is the pacing of non-musical portions of the show. The pacing is too slow. Line pick-up is terrific in some segments, and not so in others. Characters are given too much time to think and reflect on stage, not a part of this show. The show should clock in at 1:50 without an intermission. Here it clocks in at 2:20 WITH an intermission (more on that appalling intermission later).
The choreography is well done. Debra Calabrese has done a good job of recreating original steps for the show, while keeping the flavor of the more difficult original choreography. Nobody looks terribly out of step, and the better dancers blend well with the weaker dancers. (There are a few weaker dancers, but only a trained choreographer would really spot that). I applaud her work.
Now onto that appalling intermission. A Chorus Line is written to be performed without an intermission. It is done that way on purpose. Michael Bennett directed/choreographed his shows so that they flew at lighting pace, and in the instance of A Chorus Line, so that the audience could not catch its breath fully as one number and scene follows the other. There is no time for reflection intended in the script. Just like the auditioners, the audience is swept along in the drama without time to fully ponder what they have just seen — rather to experience that same movement that pushes the auditions along. Individual thoughts and experiences are heartfelt and resonate with some audience members. Others do not. But no matter what, the show needs to barrel along like a locomotive building up speed until that final stage tableux when the chosen rejoice. That is the magic of A Chorus Line.
That magic is ruined here. In the middle of the show, Zach announces “a 15 minute break”, and viola, intermission. This completely kills the integrity of the piece and ruins the pacing. It also allows the audience too much time to reflect on what they have seen, ruining the theatrical experience. There is already an intermission written into the show for the performers and musicians during the extended Paul sequence. That was deliberately built into the show at that point.
I blame this totally on the member/s of the production team that decided that the misbegotten idea of adding an intermission was a good one. Since I do not know who made that decision, I can only place the blame on Croswell. This can be salvaged by eliminating that intermission from the remaining performances.
Overall, the show is generally well-done; if not perfect. It continues through July 18th at Croswell Opera House, Adrian Michigan. Tickets: 517-264-7469, or online at croswell.org
There are some shows that any theater in Michigan best leave to Croswell with it’s big budget and full orchestra. One of those shows is The Will Rogers Follies which makes its second appearance at COH in the past 15 years. And its a doozy.
Kent Sheridan and some of the ensemble of The Will Rogers Follies
Kent Sheridan not only returns to star as Will Rogers (and a great performance it is), but also directs the fast-paced but long (2 hours 45 minutes) production. You won’t feel any of that time pass slowly, the show is immensely entertaining.
The cast is super from top to bottom, and does a fantastic job integrating professional performances with those of amateurs. Kent knows how to highlight the strongest performers, and he and Ashley Nowak (Betty Rogers) have fine chemistry together. Lucy Hagedorn turns in a can’t-take-your-eyes-off-of-her performance as Ziegfeld’s Favorite (watch her with the horse – your eyes will tear up with laughter). William McCloskey makes a fine and ornery Clem Rogers.
The ensemble is terrific — and they are beautifully outfitted by Mary Scott. This is a huge-budget show for sets and costumes, and it all shows in this fine-looking production. Scenic Designer Robert Soller has created workable sets, and the show flows from scene to scene with not a glitch that I saw.
Less fortunate is the lighting which is well-designed, but which sometimes lags behind the performers. It overall looks quite good once things slow down. The wonderful multi-colored staircase works well throughout the show, and recreates the original Broadway set quite adequately.
Kristi Davis recreates the original Broadway choreography quite well. A few steps have been adapted here and there for the cast, but for the most part, is identical to what people saw in NYC (and apparently all regional productions of this show — I have now seen the show in NYC, Phoenix, Adrian twice, and on tour in SF, and the choreography has been near-identical in every production).
“Our Favorite Son” is a true show-stopper. Congratulations to the entire ensemble for this amazing number. It’s worth the price of admission. But so is the rest of the show. It is that good.
I can’t finish the review without mentioning the poor sound. Throughout the production mics popped, creaked, moaned, and in more than one instance you could hear people talking backstage on their mics which were not turned down by the soundboard. In other instances, the balance of sound was not well-modulated from the board — younger members of the cast were overamplified while older more mature voices were not as prominent resulting in occasionally poor blend through the sound system. It’s difficult to mic a 26-member cast, but it shouldn’t be that difficult for a production of this caliber.
Go see this show. Its a wonderful way to spend an evening or afternoon, and you will absolutely love Kent Sheridan as Will Rogers. He continues his long line of appearance as Will in this strong Croswell production. And bring a friend. They will love the show, and if they’ve never seen the Croswell Opera House they will surely come back for more in the future.
An excellent production. The show continues through June 27th. Croswell Opera House, 129 E. Maumee St., Adrian, MI 49221. Tickets: 517-264-7469 or online at Croswell.org
All of Cedar Point’s shows are now up and running for the 2010 season.
I’ll start with the newest of them, “Rock Band Live” at the front of the park. It’s awful. I can’t tell you what a mess this show is. Based on the computer game, it mixes pre-auditioned audience participation with a gag-me “scripted show” and is a direct ripoff of “the American Idol Experience” at Disney Hollywood studios without the budget, glitz, interest, or talent. The microphones go on and off, emit static, and sometimes fizzle right out. The lighting and costuming are bizarre to say the least — at times, it looks like the slaughter-of-the-pig sequence from Carrie, the Musical. The technical work is sloppy throughout. The performances are shaky, ranging from mediocre to completely inadequate.
I’m not even going to waste more time on that show — it is dreadful — stay away. It is sure to be a one-season temporary production in the theater that normally houses Broadway-style reviews.
Everybody Love’s Snoopy is the big-budget ice skating show in the Goodtime Theater. It’s much better than last season’s production, and the skating is quite good. The entire thing is well choreographed and the sets and costumes look terrific (this is an import from Cedar Fair’s Knotts Berry Farm from last season). Brother and sister skating team Lara and Neill Shelton (competitive pairs skaters) do a terrific job with their featured segments — they are energetic, young, and attractive. There are no beer-bellied skaters this year (unlike last season). The show looks something like this:
Lara and Neill Shelton “boogy” to some Buble:
And here, they perform more serious stuff (their death spiral):
By the way — the Goodtime Theatre (Everybody Loves Snoopy) used to be the old IMAX theater at CP — as a result, it was designed to maximize sound from the front of the house to the back, and to deaden audience sound. That results in a very hollow live-feedback sound. You literally can not hear the people around you applauding, laughing, or responding. As a result, the sound is very one-directional. They make a big deal every year of urging you to applaud and respond when you like the skating elements. Please do so. The cast will enjoy hearing your response, and your neighbors will feel less like they are the only ones in the packed theater.
Let’s continue with the most highly attended but least interesting show of the bunch: ALL WHEELS EXTREME; which really is only bikes, in-line skates, scooters (the artist fell twice), gymnasts (of the backflip and not much else variety) and a couple cheerleaders.
The show is what it is, and except for music, is virtually identical to last summer’s show. The stunts are good. The cast is attractive. The effort and energy that goes into this show are phenomenal. But it’s all a hollow thing. You can see more than this on tv these days, any given afternoon. But they amp the volume up, keep the crowd cheering, and its a pleasant way to spend 25 minutes with a great view (of both the performers and the blue lake beyond). Here, one of the performers does a (wait-for-it…) backflip:
Here’s another shot: you get the idea —
GRAND OLE COUNTRY at The Palace Saloon is a tremendous improvement over the sing-along that has been there the past few seasons. The six-person cast performs a variety of country and gospel songs from Patsy Cline to current favorites. It all moves along briskly in a clumsily-choreographed community-theatre caliber show. The performers have great voices. The girls are particularly strong. The guys have nice voices but stumble through their dance moves. The volume of the canned music is cranked up far too loudly for the performers, and some of them can’t be heard over the piped-in music. This is the same problem that plagued last-years show at the Red Garter Saloon. One of the men (with a deep baritone voice) fares better than the others; another of whom has many solos and basically can’t be heard at all. The costuming is fine, and the lighting good. My suggestion would be to crank down the volume, let the kids perform, and cut all that fussy choreography. Here they perform some of the clumsy choreography:
On the other hand, the diamond of the summer so far is over at the Red Garter Saloon. TROPICAL BEAT – ISLAND HEAT is an all-around terrific show; the best in the park this summer. The live band is back and they look and sound terrific backing up a three-member cast. The guitar player sings along, and it’s all great fun. The music here is crowd-pleasing; the cast is energetic and clearly having fun; and the show is well-staged, avoiding needless movement, briskly working its way through a set of beach-party infused tunes that range from “Get On Your Feet”…to “Turn the Beat Around”. Terrific fun. Here’s a few shots of the cast in action:
As with all shows at CP, you need to get there at least a half hour before the show. The Red Garter Saloon in particular has a seating problem with not enough chairs to go around. If it’s full, get a soda and stand at the bar. This show is worth standing through. If you only have time for one show – skip the more obvious All Wheels stunt unspectacular, and head directly to the Red Garter Saloon at the front end of the Frontier Trail. You’ll have a great time, and see the most professionally produced show at CP in quite some time. If you have time for two, pick up Everybody Loves Snoopy and enjoy the skating, air conditioning, and attractive cast.
Summary – 2010
Best Show: Tropical Beat – Island Heat
Best cast: (tie) Everybody Loves Snoopy — Tropical Beat – Island Heat
Most Energetic cast: All Wheel’s Extreme
Best Choreoraphy: Everybody Loves Snoopy
Best Direction: Tropical Beat – Island Heat
Best Lighting: Everybody Loves Snoopy
Best Sound Design: Everybody Loves Snoopy
Best Set Design: Everybody Loves Snoopy
Best Costumes: Everybody Loves Snoopy
Best Featured performers: Lara and Neill Shelton (Everybody Loves Snoopy)
Best musical selections: Tropical Beat – Island Heat
Mostly Musical Theatre 
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