Review: Redwood

Review of the Sunday, April 27, 2025 matinee performance at the Nederlander Theatre in New York City. Starring Idina Menzel, with De'Adre Aziza, Michael Park, Zachary Noah Piser and Khaila Wilcoxon. Book by Tina Landau. Music by Kate Diaz. Lyrics by Kate Diaz and Tina Landau. Orchestrations by Kate Diaz. Additional contributions by Idina Menzel. Conceived by Tina Landau and Idina Menzel. Scenic design by Jason Ardizzone-West. Video design by Hana S. Kim. Costume design by Toni-Leslie James. Lighting design by Scott Zielinski. Sound design by Jonathan Deans. Dream choreography by Jennifer Weber. Vertical movement and vertical choreography by Melecio Estrella, BANDALOOP. Directed by Tina Landau. 1 hour 50 minutes with no intermission. 

Redwood is one of those shows that I am really glad I got to see; despite its (mostly) deserved mixed reviews, I really enjoyed it. But it's also one of those shows that I know could have been even better than it was. "Really good" isn't always good enough. That said, what was good about it was pretty terrific.

At its heart, Tina Landau's book is a rich examination of finding one's way through a labyrinth of emotions and coping in the face of profound grief. She parses out information about key events in bits and pieces, and not always in order, which keeps things interesting, and though not too much of what eventually transpires is surprising, it is affecting nonetheless. Her direction to that end is crisp and often exciting. On the other hand, the extended metaphor of the mighty tree being the key to life, is pretty much driven into the ground. It doesn't help that the score by Landau and Kate Diaz eventually becomes tedious in its repetitious sound and obvious lyrics, further stretching that metaphor. That said, it takes full advantage of the casts' unerring ability to belt extended notes, satisfying that itch audiences seem to have for American Idol-style vocal pyrotechnics. And there are a pair of songs that hint at what Ms. Diaz is fully capable of, "In the Leaves" and "Still."

But as I said before, there is some pretty great stuff going on at the Nederlander. First and foremost, the cast is exceptional, elevating the material at every turn. As the scientists whose passion for the redwoods is both humorous and profound, both Michael Park and Khailia Wilcoxon nail the perfect balance between functioning as scientific fact tellers and the sheer joy they get from being among the trees.In lesser hands, this could easily become didactic; instead, they offer perspectives as unique and opposing views on life - follow the rules vs living on instinct - which ultimately help our heroine find clarity, hope and, finally, peace. Woven in and out of the story are the parts of her life that she is running from: her son and her wife. The son, played with an enigmatic fervor by Zachary Noah Piser, haunts her literally and figuratively. Piser finally gets a chance to let loose his terrific voice in "Still," more than holding his own against his co-star. And there's the always reliably amazing De'Adre Aziza, who does fine work as the wife left behind to grieve alone while trying to save her marriage. What a voice. 

The entire reason this production even exists is its above-the-title-star (and co-conceiver) Idina Menzel who really is a force of nature. Her voice is in top form - dare I say it's never been better - and her interpretive skills are impeccable. You can feel every nuance in your soul with every note, every riff. She is fully in tune with the piece, and that connection is palpable. In a lesser season, she'd definitely be a contender for every major award. And even though there are times when she outshines the material, this is a performance I'm thankful I got to witness first hand. 

Any other year, the technical elements would also be garnering critical and awards praise, too. The lighting, sound and visuals (by Scott Zielinsky, Jonathan Deans, Jason Ardizzone-West and Hana S. Kim, respectively) are literally breathtaking and jaw-dropping. Seeing the tree, Stella, in pictures doesn't really do her justice. And the projections are next-level (even if you might get motion sickness watching them). When the aerial choreography (by Melecio Estrella and BANDALOOP) finally starts, you can see the promise, awe and wonder of Redwood could be. It was worth the wait.

Even though it isn't without its flaws, I am really glad I had the opportunity to see this heartfelt and beautiful production.

📸: M. Murphy/E. Zimmerman

CD Review: If/Then

I thought, as I watched the fantastic, original new musical, If/Then, that it wasn't what I expected. It certainly wasn't Next to Normal.  It certainly wasn't boring.  And it certainly wasn't confusing.  But it was - is - a wonderful experience.  I'll be the first to admit that it didn't afford me the same instant thrill and exhilaration as Tom Kitt and Brian Yorkey's freshman effort.  But, after thinking about it - and I thought about If/Then for a long time after seeing it - their new show shouldn't be anything like that other show.  Why? Because it is really about the mundane events in life that change and shape us.  Sometimes by chance, sometimes by choice, the little things take us in completely different directions.  Though punctuated by bigger, obvious events, it isn't until much later that we realize what got us to where we are.

In many ways, If/Then is related to two Sondheim shows, Merrily We Roll Along and Company.  It is like the former in that it is told in a challenging, thought-provoking style and framework.  It is like the latter in that it focuses on a lost soul searching among friends (and New York City) for meaning and purpose.  And like both shows, If/Then has been taken to task for its "confusing timeline" and its really being a "non-story; just a series of small events."  Time and history has shown both Sondheim shows to be much more sophisticated and appreciated for the very things that they were criticized for in the first place.  I have a feeling, that while it will probably never be favorably compared to Next to Normal, time and history will have If/Then being much more important to the musical theatre canon than it seems now.

Grade: A  (Review continues below)

Title: If/Then

Artist: The Original Broadway Cast 

Label: Masterworks Broadway

Format: Single CD

Case: Single Jewel Case

Booklet: Full color, 28 pages.  Complete lyrics and plot synopsis. Art direction by Roxanne Slimak. Production photos by Joan Marcus.  Liner notes by Jesse Green. Album produced by Steven Epstein, Tom Kitt and David Stone.

THE TOP 5 REASONS WHY YOU NEED TO HAVE THIS CD

1. It is a wonderfully produced cast recording.  From the CD booklet to the sound quality, this is a top notch keepsake of the new show.  It includes some great show photos and the full lyrics.  And while some of the dialogue might have been preserved to give the songs some context, the booklet includes a terrific synopsis that tells the stories of both Liz and Beth, as well as an insightful essay by Jesse Green.  Further, the sound quality is magnificent, really highlighting the under-appreciated orchestrations of Michael Starobin, that are far more complex than one could possibly glean from one listening at the Richard Rodgers Theatre.

2. The music and lyrics.  Another thing one can't really get from one viewing is just how much more complex the musical motifs and relationships of the songs have than they first seem.  It is even more obvious if you take the time to listen to the "Liz songs" separately and in order, then the "Beth songs" in the same fashion.  (Thank you Peter Filicia for that suggestion!  Read his essay HERE.) The score is far more varied than it first comes across (problematic, I'll admit), and the lyrics are far more smart, too.  Yorkey has taken great care to write as these people would talk.  They are bogged down in 21st century issues and the rapidly paced world that they live in.  As a result, they swear, repeat themselves and are clever/biting in a 140 characters or less kind of way.  But they are also insightful survivors, and Yorkey's lyrics reflect that, too.

3. The power ballads and exciting group numbers. Among my favorite songs on the whole CD are the thrilling opening number, "What If?" and the act one closer, "Surprise," as well as the act two opener, "This Day/Walking by a Wedding," where both stories collide.  And, of course, there are the amazing "You Learn to Live Without" (as powerful as RENT's "Without You") and "Always Starting Over."  I also really appreciate the more humorous numbers that are fun and they stick in your mind - "It's a Sign" and "What The Fuck?" Finally, since it is as much a character in  the show as any of the people, it is only fitting that the city planner and her friends sing the rousing tribute to Gotham, "A Map of New York" and the more cynical "Ain't No Man Manhattan."

2.  The superb supporting cast.  The show affords every cast member moments to shine - even the ensemble gets their share on stage and on this recording.  And some of the best highlights of the whole thing go to LaChanze ("It's a Sign"), Jenn Colella ("Love While You Can"), Anthony Rapp and Jason Tam ("Ain't No Man Manhattan," "Best Worst Mistake" "You Don't Need to Love Me").  Then there's the great contribution of James Snyder, who sings the moving "Hey, Kid" and probably my favorite duet in years, "Here I Go."

1. Idina Menzel.  Sure it is an obvious choice, but really, how long has it been since a role as so perfectly fit an actress.  She is wonderful live - a surprisingly complex and riveting performance - and just as magnificent on this recording.  The woman can interpret a modern song unlike many today.  And it is to her credit that she so perfectly blends in, too, when it isn't all about her (take a lesson, Ethel Merman).  Her solos, as I said, are amazing, but her duets with Rapp and Snyder are just as terrific.  She's grown as an actress and singer, and If/Then showcases that growth.  I can't wait to see what she does next!

Jeff
5.189

Broadway Things That Make Me Happy March Edition

Here's a few things in the TheatreScene that make me really happy!

Tony-winner Turns Billboard Top 10 Artist
She was the surprise story at the Oscars (Thank you, John Travolta!).  She's (finally) back on Broadway headlining a BRAND NEW MUSICAL (See below)!  And now, Maureen Elphaba Adele Idina Menzel has become the first Best Actress in a Musical Tony winner to score a Top 10 hit in Billboard magazine.  Of course, that's old news.  But it makes me so happy that that hit song is a Broadway-style belty number, sung in the "Broadway" style, and still made the Top 10!  Score one for Team Broadway!

Tyne Daly is BACK!
As a kid, I loved Tyne Daly in Cagney and Lacey.  Even then, I knew she was a great actress.  Then I saw her on Broadway in Gypsy, and I loved her even more!  (Her performance remains among the top 10 I've ever seen.)  And, though I haven't seen her (yet) in her return to Broadway, Mothers and Sons, I am so thrilled to hear that she's (yet again) getting rave reviews!

Record-setting Event for BCEFA
Way to go, Broadway Backwards for setting a new record in funds generated - a tidy $423,182 - for Broadway Cares and The LGBT Community Center!  This is one event I have get to some year.  It kills me that I missed the legendary Patricia Morison, who at age 99, can still work a crowd.  And I would have loved to see Michael Berresse and Tony Yazbeck doing "Hot Honey Rag/Nowadays."  Plus, I'd walk through hot lava to see Andrew Keenan-Bolger do anything...

And Finally... A Flashback
Every time I see the new tagline for The Lion King, I smile. Felines really must have 9 lives.  Well, at least 2.  The current tagline sure resembles that other kitty show's tagline.  Makes sense... same company does/did the advertising for both!  History repeats itself.

Jeff
5.136

Blogjack: The Theatre Community Rallies Against Gay Suicides

UPDATED: There's another link at the bottom to more "It Gets Better" PSAs from stage and screen stars.

Given the recent spate of high profile teen suicides due to being outed or bullied or gay-bashed, I really wanted to devote a blog to to the topic.  I, myself, have been in these horrible situations, and when I was younger and struggling, I, too, felt helpless and hopeless.  Dangerous thoughts went through my mind regularly.  Thank God I didn't go through with it.  There is, in fact, hope after high school.

When you read about these sad cases or see them on TV, it is (or should be) devastating and should make a loving human being angry and moved to do something.  Even sadder is the fact that for every one event that makes the news, there are dozens more that go unreported by the press.

The Ellen DeGeneres Show, MTV and various other media outlets have taken time to address this issue with PSAs and pleas for understanding.  Organizations like The Trevor Project and wegiveadamn.org are places to go for support and help.  If you are reading this and you are struggling with who you are, please take it from someone who has been there.  No matter how low or hurt or confused you are, you are not alone, and working through it is so worth it.  There is a lot of life to live and, perhaps most important now, there is a lot of support out there for you.  Don't give up... you will miss so much of what life has to offer if you do.

PLAYBLOG at Playbill. com has compiled several PSAs on this topic all in one place.  I urge you to go to this address and hear what Broadway stars like Idina Menzel, Neil Patrick Harris, Daniel Radcliffe, Charles Busch, Elton John and many more have to say.  Below that, find out the "It Gets Better" from the Broadway Company of Chicago.

http://www.playbill.com/playblog/2010/10/busch-colfer-harris-menzel-radcliffe-martin-and-more-speak-out-against-hate-crimes-video/

NEW!
http://www.playbill.com/playblog/2010/10/kyle-dean-massey-zachary-quinto-john-tartaglia-and-friends-speak-their-minds-on-bullying-video/

Thank you for your time.

Jeff
2.39

Bits & Pieces for 12.18.09

OK, someone please slow down the clock! It is the third week of December already??!! Argghhh! One week until Christmas!

WHAT YOU MIGHT HAVE MISSED THIS WEEK

• The Revival Box Office: What Might be the Problem
• Broadway on YouTube: Fosse & Robbins
• Theatre Book Review: How Does the Show Go On? A+
• Looking Back at Broadway: The Mystery of Edwin Drood, Part 3
• Broadway on YouTube: 3 by Andrew Lloyd Webber
• Broadway on TV Scorecard: How the Fall Shows with Broadway Stars Did

NOTE: This month's poll closes early - noon on Christmas Eve. Please vote now! Thanks!

2009 IN THEATRE ROUND-UP
Everyone and their brother is doing end of the year wrap ups, so why should I be any different? I thought I might do off-beat and topical categories and name best shows/performers/etc. from 2009 that might fit each. For example: Topical Categories: Best Broadway Debut, Best Show Logo, Best Show Website. Off-Beat Categories: Best Straight Kiss, Best Gay Kiss, Strangest Prop.

So far I have about 30, mostly topical, recognizing the efforts of people who might not normally get recognized. Can you help me come up with more topics? Possible nominees? Winners?

Write to me at jkstheatrescene@yahoo.com with your ideas!

SMALL PET PEEVE
This pet peeve occurred first when we spent endless and countless hours listening to people and the media and other folks who should know better talking about the beginning of the millennium as January 1, 2000. Well, that is not the case. Since A.D. started (or maybe the modern calendar, or whatever) started with the first day of the year one, the last day of any millennium would be the last day of the 100th year of the given millennium. That means the 20th Century started 01/01/1901 and ended 12/31/2000. The new millennium started 01/01/2001.

That said, there are polls, surveys and "best of" lists for everything from TV, music and stage to biggest news stories, etc. of "The First Decade of the 21st Century." The truth is that the first decade of the new millennium ends 12/31/2010, roughly 379 days from now. You will see, God willing, my best of the decade stuff this time next year. (NOTE TO MY FRIEND AND FELLOW BLOGGER, SOB: I whole-heartedly approve of your "Best and Worst of the Noughties," as the Noughts started 01/01/2000 and will end on 12/31/2009. That is why YOU are the theatre blog master and I am a mere follower! :-)

NAMING NAMES
One of my first blogs had to do with the Tony Committee dropping the Special Theatrical Event category, and how it would make things interesting when certain types of shows came to town. Well, here we are. This week, the powers that be determined that Carrie Fisher's one-woman show would be considered a play, and the ballroom dance extravaganza Burn the Floor would be considered a musical. Fight this over amongst yourselves, but here is my bit and piece on that: I can see Wishful Drinking as a play. It has a script and is presented theatrically. Beyond that, should Carrie Fisher even be considered for an acting award for playing herself? And I can see Burn the Floor as a musical in so much as the piece has music as a dramatic element and it is presented in a theatrical way. Does that mean the Maks from Dancing with the Stars should be eligible for acting awards? I mean you hear it on every episode: "You must also 'act' the part in the [insert dance here]." OK, maybe those examples are extreme. But will anyone call foul when it is nominated for Best Choreography (anyone remember the brouhaha over Swan Lake?) ?


SOMETHING GLEEFUL THIS WAY COMES
Yippee! The other half of the Wicked dynasty has joined the Glee family. Yes, Idina Menzel (above), Broadway's original Elphaba, will, like her Glinda co-star, Kristin Chenoweth (below, with Glee star Matthew Morrison), be a part of season one of Glee. Interestingly, given the hubbub surrounding how much Ms. Menzel and Glee star, Lea Michele look alike, it appears that the former will appear as the glee club sponsor for the rival club that features Lea's Spring Awakening co-star, Jonathan Groff. (I love Broadway cross-pollination!), and NOT as Miss Michele's onscreen mother. Of course, who knows? Maybe her long lost mother is the glee club coach for the rival team. And there is no word yet as to whether Idina and Kristin (as fans refer to them) will share the screen at all.

CREEPY, KOOKY and EXCITING!!!
Looks like I won't be faced with the ugly, plain gray facade of the Lunt-Fontanne the next time I emerge from the Marriott breezeway! And I find the Chicago reviews to be just what they should be... a new show trying out of town is looking for that kind of critique and praise to help shape the final product. I am SO looking forward to this one!

AND FINALLY... COUNTDOWN UPDATE...
22 days : I am seeing Angela Lansbury in A Little Night Music!
329 days: The New York opening of Love Never Dies!
(Photos from Playbill Online, Getty Images and Fox.com)

Friday's Bits and Pieces

It is FRIDAY! And it is a nice long weekend! Here are a few random thoughts on theatre related news from the recent past.

Goodbye, Vera! Love, Mame

Of course, we were all crushed to learn of Bea Arthur's death from cancer over the summer. What a great lady, actress, and virtual friend. I mean, who didn't think they knew her between Maude and The Golden Girls? Theatre fans will never forget her as the original Vera Charles in Mame or as the original Yente in Fiddler on the Roof. Her smokey, gruff warble was perfect for both roles, and thank God both cast recordings saved a bit of her incredible delivery in spoken dialogue.

One of my fondest memories of Ms. Arthur was when she appeared on the Tony Awards during the 80's when Angela Lansbury was hosting and they sang "Bosom Buddies" from Mame. The audience lapped it up! Brilliance in 2 evening gowns, I tell you. By all accounts, these two entertainment giants were very good friends, and so it seems only fitting that Ms. Lansbury will be hosting/narrating a star-studded tribute to the late comedienne.


Details of this event can be found by clicking here: http://www.playbill.com/news/article/132419-Angela_Lansbury_to_Host_Memorial_for_Bea_Arth

And here is a wonderful article about Ms. Arthur's legacy: http://www.playbill.com/playblog/?feed=rss2&tag=bea-arthur

Welcome to New York, Memphis!

While it is sad to say goodbye to one show (9 to 5: The Musical), it is great to look to the future. Ok, this season, at least. The first new musical of the 2009 - 2010 season is Memphis, a rare thing, indeed, as it is a completely original musical, based only on a time period, not on any book, movie or TV show. Starring Chad Kimball (Into the Woods, Lennon) and Montego Glover, this show takes us back to the time when radio stations didn't play "colored music" and the fight for equality on the airwaves. With a disclaimer on its ticket page that says, "(The show includes a depiction of violence against one of the lead characters," we can guess that it won't be a jolly frolic like Hairspray.)

It is always exciting to see a new marquee go up - the anticipation and wonder at how it will all turn out come opening night is a thrill. And now Memphis shares Shubert Alley with last season's completely original hit, next to normal. Here's hoping the newbie finds that kind of success!

(Photos by Matthew Blank at Playbill Online)


Why Burn the Floor Burns Me Up

First, a disclaimer: I have never seen Burn the Floor, and I have nothing against ballroom dancing - I am a huge Dancing with the Stars fan.

But I take pause at the fact that now, because the Tony committee decided to do away with the Special Theatrical Event category, Burn the Floor, will be lumped in with "appropriate categories that exist." This means it could be counted for Best Musical (though I doubt it will), but it could very likely be nominated for Outstanding Choreography. Nothing against the choreographer of the piece or the dancing, which I am sure is spectacular. I just think that it should be considered that the choreography was not created for a Broadway musical, but rather a specific genre of dance for a revue type show. And before you blast me... Fosse was a revue of a stage choreographer's work, and Swing! was designed expressly as a musical revue - the dance equivalent of Ain't Misbehavin' or Black and Blue. Tony Committee: Please reinstate that category!

Until Next Time, Kyle Dean Massey!



This weekend marks the end of Kyle Dean Massey's run as Gabriel in next to normal. This charmingly adorable guy took over for Aaron Tveit, who returns from a summer starring in Catch Me If You Can. I have had the pleasure of seeing both actors in the role, and I can say that Mr. Massey is a worthy successor. What he lacks in power, he sure makes up in nuance and clarity. He has created a character more closely hewn to the words he is singing and saying. In short, he really acts the role. I loved his performance, and I look forward to his return to the Broadway stage ASAP!

(Photo by Joan Marcus from Broadway.com)

Welcome to the World, Walker Diggs!


Two of Broadway's favorite people, Idina Menzel (Tony-winner for Wicked) and Rent's Taye Diggs, welcomed their first child, a boy named Walker Diggs, to the world on September 2nd. Congratulations! (Reports that little Diggs was born green were greatly exaggerated! LOL)



(Photo by Aubrey Reuben, Playbill Online)