August Wilson Theatre, New York
2017-05-18 • 19:00
I was quite enthusiastic when I first saw this show at London’s Old Vic in July 2016. It has now made its way to Broadway with its leading man, the wonderful Andy Karl.
I was slightly less impressed by Tim Minchin’s score than the first time, but I still think the show is a perfect adaptation of the movie. The author of the book, Danny Rubin, had enough sense to stick to the original movie script when it made sense… and to dare to re-envision whole segments when it allowed for a more theatrical experience. Together with director Matthew Warchus, they have created a very funny musical comedy — probably the most difficult genre to get right (failed attempts can be pathetic).
Andy Karl gives a superb performance, infused by a strong instinct for dry comedy. His much-publicised injury doesn’t appear to impact his mobility much… even though he is still wearing a leg brace — which now plays a part in one of the seduction scenes.
Music and Lyrics by Tim Minchin. Book by Danny Rubin.
Directed by Matthew Warchus. Choreography by Peter Darling. With Andy Karl (Phil Connors), Barrett Doss (Rita Hanson), …
Westside Theatre (Upstairs), New York
2017-05-18 • 14:00
This musical originated at the York Theatre Company in 2015 and has been running for a little over a year at Off-Broadway’s Westside Theatre, where it is scheduled to close in a few days. It is a somewhat lengthy, but neatly executed, biography of actor/dancer James Cagney… evidently a labour of love for its leading man, Robert Creighton, who wrote part of the score.
Even though it is told in flashback, the show feels very linear and overlong. It is redeemed by Bill Castellino’s sharp staging and by Joshua Bergasse’s choreography, brilliant as always. The hard-working cast does a fine job of playing multiple characters throughout the show.
There have been rumours about a possible Broadway transfer. Stranger things have happened.
Music & Lyrics: Robert Creighton & Christopher McGovern. Book: Peter Colley.
Direction: Bill Castellino. Choreography: Joshua Bergasse. With Robert Creighton (James Cagney), Jeremy Benton, Danette Holden, Bruce Sabath, Freddie Kimmel (standby), Karen Hyland (standby).
Shubert Theatre, New York
2017-05-17 • 20:00
From the second Bette Midler makes her appearance, the audience make it clear they will adore her performance no matter what. And they keep their promise, in spite of the abundant mugging and the notes sung an octave lower (in “Put On Your Sunday Clothes”).
Not that Midler isn’t a good Dolly. In fact, she’s quite likeable. But the amount of slapstick comedy introduced by Jerry Zaks in an otherwise handsome production does everybody a disservice — including to Midler’s costar, David Hyde Pierce. Hello, Dolly! was never a subtle show. But comedy works so much better when played without excess.
Kate Baldwin stands out among the principal cast — her voice is magnificent. But she too has to transform her character into a cardboard cutout.
The choreography by Warren Carlyle is full of giddy invention. There is a very particular step he has designed for “Dancing” which gives the scene a unique, elegant character.
Music and Lyrics by Jerry Herman. Book by Michael Stewart.
Directed by Jerry Zaks. Choreography by Warren Carlyle. Music Direction by Andy Einhorn. With Bette Midler (Dolly Gallagher Levi), David Hyde Pierce (Horace Vandergelder), Kate Baldwin (Irene Molloy), Gavin Creel (Cornelius Hackl), …
The Music Box, New York
2017-05-17 • 14:00
I was lucky to see the very first performance of this musical in Washington in July of 2015. It has now made its way to Broadway… with, amazingly, the exact same cast, except for one secondary role.
This second viewing hasn’t changed my opinion: Dear Evan Hansen has a great original book and a wildly charismatic leading man. The score, on the other hand, doesn’t appeal to me very much… and I’m not quite convinced by Michael Greif’s directorial approach, which makes the show look like every other show he has directed.
The drawback of moving to Broadway is that the play has lost some of its intimacy. Beside, the size of the house seems to encourage the actors to sing at the top of their lungs… which not only gets on my nerves and makes some of the lyrics difficult to understand, but has also taxed the voices quite a bit. Most voices sound tired, including Ben Platt’s. I’m pretty sure everybody would gain from taking it down a notch.
Music and Lyrics by Benj Pasek & Justin Paul. Book by Steven Levenson.
Directed by Michael Greif. With Ben Platt (Evan Hansen), Laura Dreyfuss (Zoe Murphy), Rachel Bay Jones (Heidi Hansen), Jennifer Laura Thompson (Cynthia Murphy), Mike Faist (Connor Murphy), Michael Park (Larry Murphy), Will Roland (Jared Kleinman), Kristolyn Lloyd (Alana Beck).
Broadway Theatre, New York
2017-05-15 • 20:00
Miss Saigon is back where it started — at the Broadway Theatre, where the original production opened in 1991.
This new production, which I loved in London (when in opened in 2014 and again on closing day in 2016), seems to have lost some of its steam while crossing the Atlantic. Maybe the sheer size of the house is at odds with the scaled-down production: the Broadway Theatre is huge and notoriously difficult to play to, especially when the house is very far from full. Or maybe I happened to catch the show on an off-night.
There were several aspects of the performance that I would describe as sloppy: jagged chorus lines during “The Morning of the Dragon,” the monitor showing the conductor in the wings in full view of the audience (spoiling the blackouts that I admired so much in London), the rumbling noise made by the set piece carrying Chris and Ellen’s bed at the beginning of “I Still Believe” (further ruined by a crude light that destroyed the visual illusion I found so brilliant)… to give only a few examples.
The only major asset left from the London production is the impeccable sound design, which makes each syllable of each word crystal clear. And a very good cast. But the magic seems to be gone.
Music by Claude-Michel Schönberg. Lyrics by Richard Maltby, Jr. & Alain Boublil.
Directed by Laurence Connor. Musical Staging and Choreography by Bob Avian. With Jon Jon Briones (Engineer), Eva Noblezada (Kim), Alistair Brammer (Chris), Katie Rose Clarke (Ellen), Nicholas Christopher (John), …
York Theatre Company, New York
2017-05-15 • 14:00
This musical, “loosely based on Measure For Measure by William Shakespeare,” is given a couple of performances as part of the York Theatre Company’s Developmental Reading Series. It appears to have been around for more than ten years, so it cannot rightly be described as new.
The score, not very convincingly described as “country & western,” is an absolute delight – especially as performed here by a piano, a bass, a violin (alternating with a mandolin) and a guitar (alternating with a banjo). The book and lyrics, written in rhyming verse, are irresistibly witty and clever. The humour blissfully crosses into un-PC territory at times, which probably limits the show’s commercial potential… but Desperate Measures would most definitely deserve a healthy Off-Broadway run.
Words fail me to praise the achievements of the great, great cast, which brought out with infinite talent the delicious comedic content of the play. It was fun to see the talented A. J. Shively again (after La Cage aux Folles, February House, Unlock’d and Bright Star) as well as Lauren Molina, infamous for being one half of The Skivvies, whom I also saw in Marry Me a Little and as a hilarious Countess Charlotte in A Little Night Music in Boston. Heath Calvert’s incredibly mellow voice also deserves a special mention.
Music by David Friedman. Book and lyrics by Peter Kellogg.
Directed by Bill Castellino. Music Direction by David Hancock Turner. With Bill Buell (Father Morse), Heath Calvert (Sheriff Green), Erika Henningsen (Susanna, aka Sister Mary Jo), Lauren Molina (Bella Rose), A. J. Shively (Johnny Blood), Nick Wyman (Governor von Richterhenkenpflichtgetruber).
Lunt-Fontanne Theatre, New York
2017-05-14 • 18:30
This musical, which opened in London in 2013, has finally made it to Broadway, but in a rather different form.
For one thing, the producers have hired a new director, Jack O’Brien (the original production was directed by Sam Mendes). The first act has been given a radically different structure, giving more prominence to Willy Wonka and sadly eliminating the part of Charlie’s Father in the process. New songs have been added, like the lovely “The View From Here,” while several songs from the 1971 movie have been inserted: “The Candy Man,” “I’ve Got a Golden Ticket” and “The Oompa-Loompa Song” — “Pure Imagination” was the only song from the movie in the original London production, much to the audience’s chagrin.
In my opinion, this New York production is, overall, a more satisfying version of a show that’s been problematic since day one. Yet, there are moments when the discomfort of the American creative team at dealing with such un-PC material as a Roald Dahl novel is so palpable one is led to wonder why they chose to base a musical on it in the first place.
Christian Borle, arguably the most talented Broadway actor of his generation, gives yet another shining performance as Willy Wonka. He portrays the many complexities of the character with admirable gusto and inexhaustible charisma. Special mention to Emily Padgett for her touching portrayal of Charlie’s mother — her rendition of “If Your Father Were Here” is one of the show’s most touching moments.
Music by Marc Shaiman. Lyrics by Scott Wittman & Marc Shaiman. Book by David Greig. Based on the novel by Roald Dahl. With songs from the 1971 film, by Leslie Bricusse and Anthony Newley.
Directed by Jack O’Brien. Choreography by Joshua Bergasse. With Christian Borle (Willy Wonka), Emily Padgett (Mrs. Bucket), John Rubinstein (Grandpa Joe), Jackie Hoffman (Mrs. Teavee), …