Is It Comedy?

If there is one lesson to be learned from That Face, it is never to bill a show that deals with an Oedipal relationship and torture, among other things, as a comedy. At the talkback I attended after the show, many audience members felt misled by the mailers describing the show as such (so much so, that they kept bringing it up, even after it had already been discussed). The marketing department might think about calling it a dark comedy, but even that might be a stretch, since there was little laughter at the performance I attended (from what I've heard, it played more like a comedy in England).

That Face, now open through June 27, comes to MTC Stage 1 at City Center from a run at The Royal Court in London. Polly Stenham, who wrote the play at the age of 19, is lucky to receive a strong production directed by Sarah Benson and featuring an excellent cast. Though she shows promise, she borrows too heavily from Tennessee Williams.

The show begins with two schoolgirls torturing a classmate after one of them, Mia (Cristin Milioti), gave her an overdose of Valium. The girls are suspended, forcing Mia's father, Hugh (Victor Slezak), to return from Hong Kong to speak to the school on her behalf. Meanwhile, her brother, Henry (Christopher Abbott), looks after their crazy mother, Martha (Laila Robins). The bulk of the play deals with the disturbing codependent relationship between mother and son. Though the writing is often absorbing, Stenham doesn't take this familiar scenario to new places, and I'm not convinced there was a compelling need for this play to be produced.

But since MTC did produce That Face, at least they've brought together a fine ensemble. Milioti manages to make Mia the most likable character, even after the horrible act she commits. Robins is appropriately unnerving. I've seen Abbott in a handful of shows and I keep saying this--keep an eye out for him. He's going to be big. If you're looking to see some fine performances, then by all means, check out That Face--just don't expect a comedy.

Hope For The New Musical

The Kid is a refreshing change from the lackluster new musicals on Broadway this season--it has a well-developed story, realistic characters, and a memorable original score. It's not without flaws, but it (along with other off-Broadway fare like Yank!, Bloody Bloody Andrew Jackson, Bloodsong of Love, and The Scottsboro Boys) is a reminder that the original non-jukebox musical still exists.

The Kid (music by Andy Monroe, lyrics by Jack Lechner, book by Michael Zam), based on Dan Savage's memoir, is playing at Theatre Row through May 29 (I'm hoping an extension is not out of the question). The always enjoyable Christopher Sieber plays Savage, who decides to adopt a baby with his boyfriend, Terry (Lucas Steele). The show traces the difficult adoption process. They are finally chosen by a homeless teenager, Melissa (Jeannine Frumess is heartbreaking in the role). Director Scott Elliott has a first-rate cast at his disposal. Steele and Sieber have believable chemistry and they both excel at the comedic and tender moments. Susan Blackwell is a standout in the supporting cast as a stern but caring adoption counselor.

Lately, I've been so used to seeing elaborate, realistic sets that the simplicity of the set by Derek McLane seemed jarring, but the few pieces of furniture are effectively used as are the windows to display animated backgrounds by Jeff Scher and videos of those seeking advice from Savage's column.

Though there is a lot of sex talk, The Kid is in many ways a traditional book musical. It is not overtly political and it presents a realistic relationship between the two men. The musical has been criticized for this approach, but it manages to be inoffensive without losing its edge. Dan and Terry's courtship involves meeting in club bathroom and going home together. When Terry gets sick and ends up staying a few days, they bond in the clever love song "Gore Vidal."

Related Reading: New Gay Theater Has More Love Than Politics

Photo credit: Monique Carboni

An Ambitious Musical For The Gallery Players

If you missed the 1989 Broadway run of Tony-winning musical City of Angels, you can catch it at the Gallery Players in Brooklyn through May 23, where it's being revived for the first time in New York. The 43-year-old theater company should be applauded for taking on such an ambitious musical, even if the results are sometimes mixed.

City of Angels (book by Larry Gelbart, music by Cy Coleman, lyrics by David Zippel) takes place in 1940s Hollywood. Screenwriter Stine (Jared Troilo) is writing a movie about a detective named Stone (Danny Rothman) and struggles to keep his integrity while meeting the demands of his overbearing producer/director (Greg Horton). Scenes from the screenplay are interwoven with the real world sequences, differentiated by black and white costumes and sets. Here is where the limits of a small theater company are apparent--the scene changes weren't seamless and the production values weren't as dazzling as I imagine they might have been on Broadway.

The show cleverly spoofs the film noir genre, but sometimes the comedy was too broad for my liking. The characters Donna and Oolie (secretaries to Stine and Stone, both played by Blair Alexis Brown) add some humanity to the show in the moving "You Can Always Count On Me," in which the two woman lament being taken advantage of.

The score is pleasant, if not particularly memorable. A highlight is "You're Nothing Without Me," a power struggle between Stine and Stone. It's the only moment when the two worlds interact, and it's very smartly done.

The capable cast acquit themselves well to the multi-tasking that is required in playing multiple roles, but there were no real standouts.

In February, I had a chance to see Caroline or Change at The Gallery Players, which I loved. Although City of Angels isn't as strong, it's definitely worth the trip to Park Slope.

Photo credit: Bella Muccari

The Forest at the Classic Stage Company

If all you know about Russian theater is Chekhov, it's worth a visit to the Classic Stage Company, where The Forest by his predecessor Alexander Ostrovsky is playing through May 30.

In the Classic Stage Company newsletter, director Brian Kulick describes Ostrovsky as a mix between Chekhov and Shakespeare. In The Forest, Raisa Pavlovna (Dianne Wiest) tries to marry off her niece Aksyusha (Lisa Joyce) to an awkward young man named Bulanov (Adam Driver), but Akyusha is in love with Pyoter (Quincy Dunn-Baker), who she can't marry without a dowry, which she will only get if she marries Bulanov, that is, until Raisa finds herself attracted to him. If that sounds like the unrequited lovers of Shakespeare's comedies, you can see where the comparisons come from. There are some funny moments in the play, especially when Driver is on stage, but they are not without darker undertones. Even in the happy ending, you get the feeling that nobody really got what they wanted.

Other than the chance to see a rarely-produced work, the main draw in this production is John Douglas Thompson, who plays Raisa's nephew Gennady. I'm sorry I missed his raved about turns in Othello and The Emperor Jones because he is truly a mesmorizing performer. There is nothing inherently wrong with this production, but it seems to lack a certain spark whenever Thompson is off the stage.

More Awards

The Independent Theater Blogger Association (ITBA) announced nominees for its second annual awards today. You can read the full list on Just Shows To Go You, but I just wanted to comment that I'm proud of the fact that we didn't have a set number of nominees in any category, which reflects the strengths and weaknesses of the season. Notice that there are only three nominees for new Broadway musical, while there are five nominees for new Broadway play. Also, there are four nominees for off-Broadway musical. We also have new categories this year for ensemble (yeah!) and solo show.

Meanwhile, off Broadway...

With the Tony nominations today, it's been all about Broadway, but many of my favorite shows of the season have been off-Broadway--Brief Encounter, Yank!, Clybourne Park, etc. This weekend, I saw Stuffed and Unstrung, an improv puppet show for adults now playing at the Union Square Theater, which is unlike anything on Broadway (it's not just another Avenue Q either).

There are two shows going on simultaneously. You can watch the puppets on one of two screens, or you can see the actors in front of you to get an inside look on how the magic is performed (I recommend the latter). Most of the skits are improvised from audience suggestions. The cast of puppeteers, led by Brian Henson (Jim Henson's son), are brilliant at what they do, and Patrick Bristow is an endearing host. In general, I just didn't find the skits that funny, though most people around me were doubled over in laughter (Charles Isherwood, I know how you feel). I preferred the recreations of two of Jim Henson's skits, which were a lovely homage to the man without whom this show wouldn't exist. Another highlight included a recreation of the first date of a couple chosen from the audience (you had to be there). As a lifelong fan of Sesame Street and Jim Henson, it was a treat to see the puppeteers hard at work and having a blast, even if the results were mixed.

Photo credit: Carol Rosegg

Once Again, My Initial Tony Nomination Reactions

I can't believe a year went by so fast. The Tony nominations were in line this morning, and I of course have some opinions. What follows is the complete list of nominations, followed by my initial reactions.

Best Play:
In the Next Room or the Vibrator Play
Author: Sarah Ruhl
Next Fall
Author: Geoffrey Nauffts
Red
Author: John Logan
Time Stands Still
Author: Donald Margulies

Yes, yes, yes! I've seen all 4 of these and think they are all deserving, especially Red and In The Next Room. Earlier in the season, I would have been rooting for In The Next Room to take it, but Red was my favorite play of the year and I'm hoping it wins.

Best Musical:
American Idiot
Fela!
Memphis
Million Dollar Quartet

This list just shows what a weak year it was for musicals. I'm surprised Million Dollar Quartet made it over Everyday Rapture, or even Sondheim on Sondheim or Come Fly Away. I am glad American Idiot made the list because it didn't get much love in other categories.

Best Book
Everyday Rapture
Dick Scanlan and Sherie Rene Scott
Fela!
Jim Lewis & Bill T. Jones
Memphis
Joe DiPietro
Million Dollar Quartet
Colin Escott and Floyd Mutrux

It was a weak year for book of a musical, but Million Dollar Quartet barely had a book. I'd like to see Everyday Rapture win this just because it's more deserving than the other 3.

Best Original Score
The Addams Family
Music & Lyrics: Andrew Lippa
Enron
Music: Adam Cork
Lyrics: Lucy Prebble
Fences
Music: Branford Marsalis
Memphis
Music: David Bryan
Lyrics: Joe DiPietro, David Bryan

I still think American Idiot should have been eligible if Tommy was. I've only seen Memphis on this list and I wasn't crazy about the score. I'm hoping that Enron or Fences wins just to make a statement about how weak a year it was for new musicals.

Best Revival of a Play
Fences
Lend Me a Tenor
The Royal Family
A View from the Bridge

I haven't seen Fences yet, but the other three are strong productions with The Royal Family being my personal favorite.

Best Revival of a Musical
Finian's Rainbow
La Cage aux Folles
A Little Night Music
Ragtime

I'm so glad Finian's Rainbow and Ragtime were remembered. I was disappointed with both A Little Night Music and La Cage, but I found a lot to admire in both, so overall I think they are all deserving, but I'm rooting for Finian's or Ragtime.

Best Performance by a Leading Actor in a Play
Jude Law, Hamlet
Alfred Molina, Red
Liev Schreiber, A View from the Bridge
Christopher Walken, A Behanding in Spokane
Denzel Washington, Fences

I missed Hamlet and I haven't seen Fences yet, but I was wowed by both Molina and Schreiber. I liked Walken also, but really, he was just Walken being Walken.

Best Performance by a Leading Actress in a Play
Viola Davis, Fences
Valerie Harper, Looped
Linda Lavin, Collected Stories
Laura Linney, Time Stands Still
Jan Maxwell, The Royal Family

From what I heard, Viola Davis is the one to be beat. I'm glad Valerie Harper was recognized because she was the only reason to see Looped.

Best Performance by a Leading Actor in a Musical
Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles
Chad Kimball, Memphis
Sahr Ngaujah, Fela!

I'm seeing Promises, Promises tonight, but overall I approve this list. I do feel bad for Kevin Mambo, though, but Ngaujah is pretty mind-blowing (I didn't see Mambo). Grammer was the highlight of La Cage for me, and I'm glad he was recognized in addition to Hodge. Also very happy for Chad Kimball, who was the highlight of Memphis for me.

Best Performance by a Leading Actress in a Musical
Kate Baldwin, Finian's Rainbow
Montego Glover, Memphis
Christiane Noll, Ragtime
Sherie Rene Scott, Everyday Rapture
Catherine Zeta-Jones, A Little Night Music

Yeah!!!!! Kate Baldwin and Christiane Noll!!!!! I was afraid they wouldn't be recognized because their shows closed too early. I'm thinking Sherie Rene Scott has the best chance at winning, though.

Best Performance by a Featured Actor in a Play
David Alan Grier, Race
Stephen McKinley Henderson, Fences
Jon Michael Hill, Superior Donuts
Stephen Kunken, Enron
Eddie Redmayne, Red

Yeah!!! Jon Michael Hill and Eddie Redmayne! Two of my favorite debut performances of the year. Is this Race's only nomination?

Best Performance by a Featured Actress in a Play
Maria Dizzia, In the Next Room or the Vibrator Play
Rosemary Harris, The Royal Family
Jessica Hecht, A View from the Bridge
Scarlett Johansson, A View from the Bridge
Jan Maxwell, Lend Me a Tenor

I could take or leave Johansson on this list, but everyone else is very deserving, but I'm especially happy to see Maria Dizzia and Jan Maxwell (being a little greedy this year, aren't we?) on this list.

Best Performance by a Featured Actor in a Musical
Kevin Chamberlin, The Addams Family
Robin De Jesús, La Cage aux Folles
Christopher Fitzgerald, Finian's Rainbow
Levi Kreis, Million Dollar Quartet
Bobby Steggert, Ragtime

YEAH!!!!! If there were two nominations that I cared the most about, it was Fitzgerald and Steggert. I am bummed that American Idiot's Tony Vincent didn't make the list though. I also loved Stark Sands and Michael Esper in American Idiot, but I really thought Vincent had a shot as the sinister St. Jimmy. As much as I love Robin De Jesús, sometimes when I was watching him in La Cage, I felt like I was watching Sonny from In the Heights in drag. I also thought Kreis was a terrific Jerry Lee Lewis, but I wish someone would recognize Robert Britton Lyons, who was just as strong as Carl Perkins.

Best Performance by a Featured Actress in a Musical
Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Karine Plantadit, Come Fly Away
Lillias White, Fela!

No surprises here. I'm excited to see Finneran's performance tonight.

Best Scenic Design of a Play
John Lee Beatty, The Royal Family
Alexander Dodge, Present Laughter
Santo Loquasto, Fences
Christopher Oram, Red

I loved The Royal Family set. Never got to Present Laughter.

Best Scenic Design of a Musical
Marina Draghici, Fela!
Christine Jones, American Idiot
Derek McLane, Ragtime
Tim Shortall, La Cage aux Folles

I hope American Idiot wins this one.

Best Costume Design of a Play
Martin Pakledinaz, Lend Me a Tenor
Constanza Romero, Fences
David Zinn, In the Next Room or the Vibrator Play
Catherine Zuber, The Royal Family

I don't have too many opinions on this category.

Best Costume Design of a Musical
Marina Draghici, Fela!
Santo Loquasto, Ragtime
Paul Tazewell, Memphis
Matthew Wright, La Cage aux Folles

Or this one, except I wasn't too impressed with the Ragtime costumes.

Best Lighting Design of a Play
Neil Austin, Hamlet
Neil Austin, Red
Mark Henderson, Enron
Brian MacDevitt, Fences

So far, only seen Red, and I loved the lighting.

Best Lighting Design of a Musical
Kevin Adams, American Idiot
Donald Holder, Ragtime
Nick Richings, La Cage aux Folles
Robert Wierzel, Fela!

American Idiot better win this one too. I think even those who didn't like the show agree that the design elements were strong.

Best Sound Design of a Play
Acme Sound Partners, Fences
Adam Cork, Enron
Adam Cork, Red
Scott Lehrer, A View from the Bridge

I don't know too much about sound design, I'll admit.

Best Sound Design of a Musical
Jonathan Deans, La Cage aux Folles
Robert Kaplowitz, Fela!
Dan Moses Schreier and Gareth Owen, A Little Night Music
Dan Moses Schreier, Sondheim on Sondheim

See above.

Best Direction of a Play
Michael Grandage, Red
Sheryl Kaller, Next Fall
Kenny Leon, Fences
Gregory Mosher, A View from the Bridge

I'd like to see Michael Grandage win. Have I mentioned I loved Red?

Best Direction of a Musical
Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime
Terry Johnson, La Cage aux Folles
Bill T. Jones, Fela!

Way to snub Michael Mayer for American Idiot. I'm pretty bummed he wasn't recognized, but I'm glad Marcia Milgrom Dodge got a nomination. Also, Warren Carlyle should be recognized for what he did with Finian's Rainbow.

Best Choreography
Rob Ashford, Promises, Promises
Bill T. Jones, Fela!
Lynne Page, La Cage aux Folles
Twyla Tharp, Come Fly Away

No Steven Hoggett for American Idiot?! I loved his choreographey and actually preferred it to the Spring Awakening choreography, which was of a similar frantic nature. Oh well, I hope Jones gets his second win, though I haven't seen Come Fly Away yet.

Best Orchestrations
Jason Carr, La Cage aux Folles
Aaron Johnson, Fela!
Jonathan Tunick, Promises, Promises
Daryl Waters & David Bryan, Memphis

Seriously??? No Tom Kitt for American Idiot??? This is actually the only category I think American Idiot was a lock to win. Whatever.

So, what do you all think?

Edit: Although I felt there were some snubs, I was very happy with the way the Tony nominations turned out this year. For once, shows that have been closed for a while were not ignored--Finian's Rainbow, Ragtime, and The Royal Family--and I think the nominations for the most part represent the best of a fairly weak year.

Cumming With a G Not Cumming With an S

Former Cabaret star Alan Cumming is now appearing in a cabaret show of his own at Feinstein's. The first week of his engagement ends tonight (my apologies for not getting this post up sooner, I was having computer troubles) and he will be appearing again from June 22 through June 26.

I saw a dirtier version of this show at Joe's Pub in January. He was just as entertaining in this equally intimate venue, but I think Joe's Pub was a little more suited to his raunchy brand of humor. He joked that he enjoyed Feinstein's because he was the youngest there by about 20 years (sorry, Mr. Cumming, but I'm pretty sure my friend and I were the youngest).

The set list included musical theater songs and some songs that he wrote or co-wrote with pianist Lance Horne (also accompanying was Yair Evnine on cello). The evening began with a passionate "Mein Herr," a song from Cabaret that of course Cumming did not perform in the revival. One of the highlights was a Hedwig and the Angry Inch medley. Cumming did mention that he was supposed to be in a musical this fall, but because he left that production (Spider-Man), he'll be able to see his friend John Cameron Mitchell in Hedwig. Does this mean Mitchell will definitely be in it? If so, that's good news. If not, well, I guess Cumming is available.

Cumming mentioned his initial reluctance to perform a cabaret because he didn't know how to sing without being a character. But part of his talent is that he is able to fully create a character in every song. Even when not singing, he is a strong storyteller. An extended story about his appearance on the Macy's Thanksgiving Parade was particularly hilarious, but I won't spoil it here.

Now that Cumming will no longer be on Broadway this fall, who knows when we'll get to see him on the New York stage again. In the meantime, this show is not to be missed.

Some Thoughts on American Idiot

If you've been reading this blog, or following me on Twitter, you know that I've been pretty excited about American Idiot, if a little apprehensive. I finally saw the show on Friday evening and I was not disappointed. This isn't going to be a traditional review, but I do want to explore a few of the reasons why I enjoyed it so much.

I was speaking to Steve On Broadway about the show, and he made the very good point that a Broadway musical, especially one as polished as this one, is the antithesis of punk, and I do agree with him, but I'm not that interested in whether it's truly punk, but whether it succeeds as a musical. On the basis that I was entertained from start to finish, I say it does.

It has more of a plot than I expected. Johnny (John Gallgher Jr.) is bored with his life and leaves town on a Greyhound with his friend Tunny (Stark Sands). Their friend Will (Michael Esper) is forced to stay home when he finds out his girlfriend (Mary Faber) is pregnant. Johnny turns to drugs, pushed on him by St. Jimmy (Tony Vincent) while Tunny joins the army. In the end, they return home, basically reverting back to their old lives. There isn't much room for character development, but for a show about American idiots, it's pretty fitting that they end up where they started.

Visually, the show is stunning. Christine Jones' set seems to reach the heavens with TV screens (Darrel Maloney provides the video), newspaper clippings, and advertisements. Shopping carts float in the air. The spastic choreography is a thrill to watch, as are the energetic performances by the entire cast. And of course there is the music. There is very little dialogue, so Green Day's aggressive and occasionally (dare I say) beautiful score takes center stage. Sands and Esper are vocal standouts.

The biggest misstep in the production occurs after the curtain call when the cast members grab guitars for an encore--"Good Riddance." It's a cheesy move and also undermines the show by telling us we should have had the time of our lives. Why not let the show speak for itself?

A Bloody Good Time

If you're looking for an inexpensive, entertaining musical and don't mind getting a little blood splashed on you, look no further than Bloodsong of Love: A Rock and Roll Spaghetti Musical by Joe Iconis, playing at Ars Nova through May 9.

The protagonist, known as The Musician (a dashing Eric William Morris), falls in love with Santa Violetta (MK Lawson), only to have her taken from him by Lo Cocodrilo (Jeremy Morse). The musical follows him on his journey to get her back, but the heart of the story is the bromance between The Musician and his childlike friend Banana (a scene-stealing Lance Rubin). The whole cast is not only strong in the vocal department, but fully committed to whatever zaniness is required.

I was frankly underwhelmed with other Iconis shows I've seen, Rewrite and Things To Ruin, but I finally see why he is considered such a promising musical theater composer. The score is catchy, so much so that my friend and I were humming it as we left the theater, which seems to be a rarity these days. As funny as the book scenes are, sometimes less is more, especially in a show as silly as this one. The show would be stronger at a tight 90 minutes with no intermission (it currently runs about two hours and ten minutes including intermission).

Set designer Michael Schweikardt makes excellent use of the small space, cleverly incorporating a moving walkway. The costumes by Michelle Eden Humphrey are simple, yet effective, especially small touches like a snake belt for Lo Cocodrilo and Where's Waldo boxers for Banana.

Tickets cost only $25 but for bargain hunters, the splatter zone seats are $15. Ponchos are provided to shelter you from the bloodbath.

Photo credit: Peter James Zielinski

Met's Hamlet Is A Piece Of Work

I was thrilled when I received an invitation to see Hamlet at the Metropolitan Opera. I must admit that I don't see as much as opera as I'd like and I'd never even been to the Met. I think Hamlet is a good starter opera--though not particularly well-known, it's easy to follow if you're familiar with the play.

The French opera by Ambroise Thomas has not been seen at the Met in 113 years. Though a few liberties are taken with Shakespeare's play, it's still pretty much intact--the ghost of Hamlet's father wants Hamlet to avenge his murder. I've read that the score is not considered the best, but to these inexperienced ears, I found the music engaging and very appropriate to the story.

Simon Keenlyside delivers a captivating performance as Hamlet and he is evenly matched by Marlis Petersen, a last minute replacement for Natalie Dessay, as Ophelie. Her mad scene is as strong as any I've seen. The other standout is Toby Spence as Laërte. Though he appears in only a few scenes, he commands the stage whenever on.

My only complaint is Christian Fenouillat's boring sets, which was basically walls moving about the stage. I would have preferred something more opulent for my first visit to the Met, but no matter, I'm sure I'll be back.

There are two more performances of Hamlet, tonight and Friday at 8 p.m.

All About Dame Edna

I'd been working on my review of All About Me when it was announced that the show would close 3 months early, on April 4. I thought about whether or not it made sense to finish my review, which I don't think will encourage anyone to see the show unless they are huge Dame Edna and Michael Feinstein fans, in which case, they've probably seen it already. Still, I feel that if the producers invite me to see a show, I owe it to them to finish my review.

In the 90-minute show, written by Christopher Durang, Barry Humphries, and Michael Feinstein, Feinstein and Dame Edna booked the same theater. They spend the first half arguing about whose show it is and the second coming together to create a show of things they like (koalas, medleys, etc.). Feinstein is in fine voice, but he can't compete with a dame. I love stories about the great American songbook, but not necessarily on a Broadway stage, and his anecdotes about himself are less interesting. While his jokes fall flat, Dame Edna gets a laugh with everything she does. The best moments are when she is alone onstage or improvising with the audience--when Feinstein joins her, the arguments feel awkward and forced.

It's a shame this show went directly to Broadway. It might have worked in Feinstein's. I saw Feinstein and David Hyde Pierce there in December, and Feinstein seemed much more at ease in that venue. It's always unfortunate when a show closes early, but they both deserved better. On the bright side, they probably won't lose fans over this and maybe they learned a little something for the next time.

Photo credit: Joan Marcus

Musical Theater With A Twist

Here's a fun game to play with your musical theater nerd friends: Imagine your favorite shows set in different time periods or locations. For example, what if Fiddler on the Roof took place in a Cuban cigar lounge as opposed to a shtetl in Russia? This is the premise behind What If?, part of the Mind The Art Anthology at La MaMa.

What If?, which will play one more performance on April 2 at 10 p.m., is conceived and musically directed by Christian De Gre. The show is presented as a concert with De Gre explaining the concept before each song, performed by an alternating cast of 14, backed by an 8-piece band. I'd have loved to see some of these ideas fleshed out in longer scenes, but in its current state, it is a highly entertaining evening. Some of the numbers were set to a different genre of music, such as a heavy metal "The Ballad of Sweeney Todd." Some featured a new staging concept, such as Jason Robert Brown's "Stars and the Moon" sung by three couples. Others were mash-ups, the best of these being a hip-hop "Modern Major General" backed by snippets from songs about men being men ("C'est Moi," etc.). The highlight of the evening was the grand finale--"In The Heights" sung in the style of Boublil and Schonberg, who wrote Les Miserables and Miss Saigon. De Gre explained that they were going to take everything that made In The Heights revolutionary and take it away. On the one hand, its amusing to hear these songs in unexpected ways, but the larger implications give you something to think about after the show.

Update: Check out Kat's blog for an in-depth analysis of one of the songs.

Note: I was given complimentary tickets to see the show in exchange for writing a review.

Not That Glee

Those going to Glee Club hoping to see high school students singing "Don't Stop Believing" should be warned that the play has nothing to do with the TV show. The glee club of Romeo, Vermont is made up of middle-aged men who meet once a week to escape their dreary lives. The play, written by Matthew Freeman and directed by Kyle Ancowitz, runs through April 3 at The Access Theater Gallery.

Ben (Stephen Speights) is the perfectionist leader whose typical words of encouragement include, "Sing pig fuckers. Sing or die." His frustration is somewhat understandable, as he's dealing with the likes of Greg (Carter Jackson), who swears he is dying of cancer even though he has been in remission for 15 years, Mark (Robert Buckwalter), whose cell phone keeps going off as he is in the middle of a divorce, and Paul (Steven Burns), who only opens his mouth to say things like, "Singing this shit is the only thing I do besides fuck around with knives. Don't make that the only thing I do. Don't make me have to explain what happened to a judge." On this particular night, Hank (Tom Staggs) announces that he has given up drinking. The problem--Hank sings better when he's drunk and he's the best singer in the group.

It's a flimsy plot that can barely stretch to the hour-long running time. There are plenty of choice lines delivered skillfully by the cast (especially Burns, almost unrecognizable as Steve from Blue's Clues), but the dialogue becomes far too repetitive as the insults and arguments go around in circles.

The club only practices one song, "The World Will Make You Smile" (written by Speights for the show), which I defy anyone not to hum on the way out. The lyrics are clever--"And even if it's only just an orb absorbing up the lonely, bitter, broke, and homely, pushed into a pile, wait a little while, and the world will make you smile!"--and I would have liked more songs like this, but the repetitiveness does illustrate the futility of the lives of these men. Glee Club will make you smile, even while reminding you that the laughter comes at a price.

Note: I was given complimentary tickets to see the show in exchange for writing a review.

When Religion and Musical Theater Meet

Little did I know when I went to a Megillah (the Book of Esther) reading on Saturday night (Purim) at B'nai Jeshurun, that I would be treated to the best service ever. The evening included Hebrew prayers set to songs from The Sound of Music ("The Lonely Goatherd," "A Few Of My Favorite Things," and "Do-Re-Mi") and Joseph and the Amazing Technicolor Dreamcoat ("Jacob and Sons" and "Go, Go, Go Joseph"). I hadn't witnessed this before, but I love the idea of using musical theater or even popular music in a service. Not that it would work for every occasion--Purim is a fun and joyous holiday--but I think it is worthwhile to hear prayers in a new way. I'm used to reciting the prayers from memory, and this forced me to pay attention so that I wouldn't be singing the actual words of the song. Have any of you experienced crossover between musical theater and religion?

The Men Dominate in Measure for Measure

After missing the well-received Theater For A New Audience's Othello directed by Arin Arbus last year and seeing the misguided Public Theater production a few months later, I didn't want to make the same mistake with Measure For Measure. The Shakespeare dark comedy, also directed by Arbus, is playing at The Duke on 42nd Street through March 14.

It is to Arbus's credit that the story is very easy to follow in this production. The Duke of Vienna, Vincentio (Jefferson Mays) says he is leaving the city, although he is actually staying in disguise, and appoints Angelo (Rocco Sisto) as his successor. One of Angelo's first acts in his new role is to sentence Claudio (LeRoy McClain) to death for impregnating his fiance, Juliet (Rose Seccareccia), before marriage. Claudio begs his sister, Isabella (Elisabeth Waterston), on the verge of taking her holy orders, to intervene, and Claudio's lust for her prompts him to make a deal--her body for Claudio's life.

Arbus makes the decision to stage the play in contemporary times, with the actors wearing drab suits (designed by David Zinn), but this is not especially effective. While it doesn't neccessarily hurt the production, it doesn't add anything either, and there doesn't seem a compelling reason for the modern dress.

The Duke is "good," but some of his methods are questionable, such as telling Isabella that Claudio has been killed when he hasn't, and Mays captures the complexities of the character. His performance is reason enough to see the play, but sadly the others vary in their degrees of success. Waterston is especially out of her depths as Isabella, where our sympathies should lie, giving a lifeless performance. The other females also fail to make a strong impression, with the exception of Mary Testa in her small role as Mistress Overdone. Though I personally find the play to be more of a tragedy than a comedy, the comic bits are very very funny, and are served well by Alfredo Narciso as the cunning Lucio, John Christopher Jones as the dimwitted Elbow, and John Keating as the clown Pompey.

Note: I was given complimentary tickets to see the show in exchange for writing a review.

Mamet's Race Fails To Shock

As I try to review David Mamet's Race, I keep thinking about Bruce Norris' Clybourne Park, which I saw this weekend at Playwrights Horizons. Though obviously very different from Race in plot and writing style, Clybourne Park, about the changes in a community over time (the first act takes place in 1959, the second takes place in 2009), is smartly written with very real characters, portrayed by an expert ensemble, and is much funnier, surprising, and more successful in dealing with the issues than the disappointing Race.

Race, written and directed by Mamet, opened at the Ethel Barrymore Theatre on December 6. The plot was kept under wraps prior to previews. A white man, Charles Strickland, (Richard Thomas) accused of raping a black woman wishes to be represented by a law firm of one white and two black lawyers. As the lawyers--Jack Lawson (James Spader), Henry Brown (David Alan Grier), and Susan (Kerry Washington)--debate whether to take on his case, their own prejudices are exposed.

The clever marketing of the show--the Web site allows you to investigate the crime scene, the tagline is, "From Pulitzer Prize winner David Mamet, comes his most explosive four-letter word yet. Race"--only raised expectations that this would be a highly provocative play. The most shocking aspect was the lack of swearing. Yes, some cringe-worthy phrases come up, but it's nothing that hasn't been heard before. There is some thought-provoking dialogue as one would expect in Mamet, but the buildup is missing (especially when that unnecessary intermission is thrown in). Whether or not Strickland was guilty never seems that important and the plot twists fall flat.

Washington, making her Broadway debut as a typical female Mamet character with a hidden agenda, gives a stiff performance and spends most of the evening scowling. The male actors are more than competent, especially Spader, but even he is not enough to save the evening from being a merely adequate night of theater.

Photo credit: Robert J. Saferstein

Note: I was given complimentary tickets to see the show in exchange for writing a review.

Venus In Fur Is Alright Tonight

There are certain bragging rights that come with seeing an actor before he/she hits it big. Those who see relative newcomer Nina Arianda in Venus In Fur will be witnessing her breakout role, and I expect we'll be seeing much more of her in the future.

At the Classic Stage Company through February 21, Venus In Fur is a sexy, entertaining show that runs a fast-paced 90 minutes with no intermission. It takes place during an audition with only the actress Vanda (Arianda) and writer/director Thomas (Wes Bentley) in the room. She missed her appointed time and he is about to leave, but he decides to let her read, with him acting opposite. Thomas's play is based on the 1870 novella by Leopold Sacher-Masoch. The power dynamic constantly shifts throughout the course of the evening, between Vanda and Thomas and the characters they are playing.

David Ives has written snappy, funny dialogue and smartly shifts between the scenes in the play and the "play." Unfortunately, Venus In Fur struggles towards its unsatisfying conclusion as Vanda starts to reveal her true self. This has to do with the writing, not Arianda's dynamic performance. She excels at everything that is required of her, making her switch from a comic ditz to a calculating seductress believable. She completely overshadows Bentley, who stumbles over his lines and seems less assured of himself, but then again she does have the meatier role. Fortunately, the co-stars do have chemistry, or the play would not work.

Director Walter Bobbie has a long partnership with Ives, and his understanding of the material is evident. The production is also aided by John Lee Beatty's (who I think has designed most of the shows I've seen recently) sterile set and Peter Kaczorowki's appropriate fluorescent lighting.

Note: I was given complimentary tickets to see the show in exchange for writing a review.

Revisiting Phantom

I saw The Phantom of The Opera way back in August, 2001 and I'm not ashamed to call myself a fan. I know that theater snobs look down on Andrew Lloyd Webber, but I love a good spectacle and I really enjoy the score for all its melodrama. Plus, at the heart of Phantom is a compelling story which has everything--romance, suspense, humor. I hadn't been back since because there are always new shows to see and I tend to forget about the long-running musicals, but my sister was visiting me and there aren't that many new shows in the middle of January, so we decided it was time to see how Phantom was holding up.

Not surprisingly, it wasn't sold out on a Monday night in the middle of January, but it was still pretty full, especially in the rear mezzanine. Also not surprisingly, most of the audience seemed to be tourists. I really loved listening to the excitement of the people around me, many of who had never seen a Broadway show before (though I could have done without so many camera flashes going off). Now that I go all the time, I miss when seeing a show was a treat that meant getting dressed up and that sense of wonder that came with sitting in a big Broadway theater.

The show begins at an auction and there are sheets covering many of the set pieces. The reveal of the chandelier and its rise to the ceiling during the first chords of "The Phantom of the Opera" was as thrilling a moment of theater as I remembered it to be. However, the fall of the chandelier at the end of act 1 was noticeably less impressive than I remembered. I couldn't help but think of this SNL skit. The cast was fine in Act 1, they were hitting the right notes, but it didn't grab me as it did the first time. George Lee Andrews (who has been in the show since it started) as Moinsieur Andre and David Cryer as Monsieur Firmin, the comic relief, were by far the highlights and the only ones who really seemed in the moment, rather than going through the motions.

I'm not sure what happened at intermission, but everyone seemed to pick up their game in act two. Susan Owen, who plays Christine a few nights a week, delivered a beautiful "Wishing You Were Somehow Here Again." Jon Cudia as Phantom, Ryan Silverman as Raoul, and Owen came alive during "The Point of No Return," so the emotional impact of the ending was not lost. Phantom doesn't have shows on Sundays, so maybe they were just having a slow start getting back into the work week. All in all, I'm glad I gave the show another look, and now my memory is refreshed so I am ready for Love Never Dies.

Why I'm So Excited for American Idiot

It was recently announced that American Idiot will indeed be opening on Broadway this spring season. I haven't been this excited about a new musical in a very long time. Even though reviews of the Berkeley production were mixed, there are a few reasons I'm looking forward to this. I already like the Green Day album and the cast version of "21 Guns". The cast hasn't been announced yet, but I'm guessing it will be similar to the Berkeley cast, which featured many promising young actors like John Gallagher, Jr. (already a Tony winner) and Rebecca Naomi Jones. Sure, the music is preexisting, but it's still a new musical based on an original concept.

Looking briefly at the other new musicals that have opened or will open this season, I enjoyed Memphis, but mostly because of the performances. I thought the music was generic and the book fell apart in places. I also enjoyed Fela!, but found it flawed as I wrote about here. Million Dollar Quartet doesn't excite me that much, I'm not sure why, I guess I'd rather listen to the actual artists (Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Elvis Presley). The Addams Family has a good cast, but it reportedly had troubles in out of town tryouts. I don't know what's going on with Spider-man: Turn Off The Dark, but I don't expect it to open any time soon. I am looking forward to Sondheim on Sondheim, which seems more like a revue than a new musical, and Come Fly Away, which is a dance driven rather than story based. So, I'm going to go ahead and pin most of my hopes on American Idiot.