REVIEW: Once Upon a Mattress

Review of the Wednesday, August 21, 2024 matinee performance at the Hudson Theatre in New York City. Starring Sutton Foster and Michael Urie with Brooks Ashmanskas, Will Chase, Nikki Renee Daniels, Ana Gasteyer, David Patrick Kelly and Michael Olaribigbe. Music by Mary Rodgers. Lyrics by Marshall Barer. Book by Jay Thompson, Marshall Barer and Dean Fuller. Adaptation by Amy Sherman-Palladino. Scenic design by David Zinn. Costume design by Andrea Hood. Lighting design by Justin Thompson. Sound Design by Kai Harada. Orchestrations by Bruce Coughlin. Physical comedy and effects by Skylar Fox. Choreography by Lorin Latarro. Direction by Lear deBessonet. 2 hours, 15 minutes with one intermission.

Who knew a 65 year-old unabashedly old fashioned musical would be as fresh (or fresher) than most of Broadway's newest shows? Yet here we are in 2024, celebrating the return of 1959's Once Upon a Mattress, now enjoying a critically-acclaimed revival. Add this critic to the list of "acclaim-ers!"

On paper, this piece would seem like just the sort of thing I'd avoid - I suffer from fairy tale musical fatigue, after all. Add to that the show's wholesome reputation - I like my shows with some bite. Interestingly enough, it's these very things that this Encores! transfer embraces that makes it work so beautifully. 

The book by Jay Thompson, Marshall Barer and Dean Fuller is definitely of its time - central characters, a "B" couple, colorful featured roles, front-of-curtain scene change dialogues and musical reprises. But this production has the benefit of the clever Amy Sherman-Palladino as its adapter, she of Gilmore Girls and The Marvelous Mrs. Maisel fame. She knows her way with strong women in various time periods. While I am completely unfamiliar with the original, I've come to understand that she tightened it up, condensed characters and spruced up some of the outdated lines. Sure, there are some empowerment slogans, and modern era-tinged references, but they never really interfere with the show's central purpose: joy and laughter. Mattress has both in mass quantity.

Much of that joy stems from the lovely score by Mary Rodgers (music) and Marshall Barer (lyrics). Rodgers clearly inherited her father's gift of tuneful ear worms in a variety of tempos, and Barer, while no Hammerstein, clearly has a knack for word play and a sense of humor. For me, the stand out numbers of this classic were "Many Moons Ago," a cheeky prologue, "In a Little While," a tender duet for the "B" couple, and, of course, "Shy," a belty character number that really establishes the star. Finally, there's the very clever, wordy "Happily Ever After," which had to be on Sondheim's mind when he was creating Into the Woods. Though certainly not a crown jewel of the Golden Age, this gem of a score holds up all these years later.

Though she seems to have a love or hate her reputation among the theater fandom, I find Lear deBessonet to be a fine director, who makes a meal out of the snack that creating for Encores! allows. Here, as with Into the Woods, she mines the comedy from the given text, and knows just how to get the most out of her cast without giving in to excess. Here (aided by Skylar Fox - credited as "physical comedy and effects by") she leans into the inherent silliness that this take on a fairy tale affords, all while insuring that the heart and sweet romance of it all are never far behind. The show (and its current staged concert lineage) practically mandates an overtly presentational staging, but she seems to have elevated even that here, making the audience feel a part of it all somehow. If I had to make any qualm about this Broadway transfer staging, it is that choreographer Lorin Lattaro didn't spruce up and tighten the dance numbers. They still look like they were crafted with a two week time crunch, fine for City Center, somewhat lacking for Broadway. This is no slight to the delightful ensemble; they are all aces. Therein lies the rub: they are clearly better than the numbers they perform. You can almost sense that they want to break out and let themselves go.

The freedom from excess mandated by its earlier incarnation also goes for the design elements. The simplicity here actually adds to the proceedings; the story and its players are not overshadowed by what could under normal circumstances be the desire to over-embellish everything. Instead, scenic designer David Zinn keeps it light with more of a suggestion of a kingdom and its palace than a literal translation. This is not to say that what we see isn't wonderful - it is, with enough little surprises and nifty set pieces to keep our eyes glued to the stage. Colorful and royal in shape and accouterments the set is quite nice. The colorful lighting, designed by Justin Thompson, adds a technicolor wash to the whole thing, and Kai Harada's sound design is perfect - clear as a bell and never too much. The balance with the onstage orchestra is also perfect. But it is the costumes, designed by Andrea Hood, that really bring it all together visually. A rainbow of colors race through each scene as the performers gather and disperse; they are a visual representation of diversity and optimism. Naturally, they look "royal" (think 21st century meets Disney's Sleeping Beauty), and yet somehow, they seem modern and relatable. They also, smartly, resemble a whole puppet kingdom, a nod to the opening number and Mister Rodger's Land of Make Believe. Lessons are learned, but it's never too scary.

The cast, full of Broadway regulars and newcomers alike, is terrific and all on the same page with the performing style required by this staging. To a person, they seem to be having the time of their lives, and that sweeps across the footlights and grabs the willing audience. Like I said, joy pervades the Hudson. Special shout outs to the ensemblists who played Princess Number 12 and "Kevin." Both stood out in all the right ways throughout the performance.

At our performance, the Jester, normally played by Daniel Breaker, was played by Michael Olaribigbe, an actor clearly put on at the last minute, and not fully rehearsed in the role at this point in the run as evidenced by his use of script pages in act two. Well, let's just say that he saved the day! For the first act, you'd never have known he was doing this for probably the first time. He was so smooth, and quite charming. And when he pulled out the script for the first time, You could forget it was even there, so excellent and in character were his line readings. It was likely no small comfort to him that his primary scene partner at the end was Brooks Ashmanskas, seasoned pro that he is, and as delightful as always.

As King Sextimus the Silent, David Patrick Kelly was adorably animated, wordlessly conveying all the things he couldn't say hilariously. His "Man to Man Talk" was charming, delighting a young audience member who giggled loudly throughout, blissfully unaware of the birds and the bees content of the song. Ana Gasteyer, new to the production, is a twisted combination of over the top entitlement, and a self-serving need to never let her son find happiness. Her delivery is comically blistering, and her amazing belt of a singing voice and full characterization serves each number of hers splendidly.

With the perfect amount of old-school vocal styling, and just short of camp portrayals, the secondary couple is in more than capable hands with Will Chase and Nikki Renee Daniels on the case. He nails the vacuous bravado and ego (think Gaston as a nice guy) of a knight, while she raises the soprano ingenue trope to a new level of sophistication; this Lady Larken has agency, and Ms. Daniels works it like a charm.

The male part of the central pairing, Prince Dauntless is played with a wonderful blend of wide-eyed childlike innocence, and a smart awakening of more grown up feelings by Michael Urie. He is clearly relishing this performance - he exudes confidence and joy as he dives head first into creating a fully rounded character from material that is a bit light. I found that, like the rest of the principals, his use of character-driven vocal affectation really makes the whole thing much more enjoyable. If there's any show that does not need the American Idol treatment, it is this one. He also shares amazing chemistry - no small feat - with his leading lady.

Let's face it. This Broadway run (and subsequent L.A. run) exists purely because of Sutton Foster. Frankly, if she weren't already a celebrated stage star, this vehicle would make her one. We've been fortunate enough to see her in a variety of roles, utilizing a variety of her gifts as a musical actress. Here, Ms. Foster is a wonder of physical comedy prowess and what appears to be a deep well of energy. She's completely committed, fearless, in fact. One supposes she must sleep a lot on her off days. Like the rest of the company, her performance is one of character over self-indulgence; from her singing to her scene work, from her dancing to her physicality, everything seems so organic and natural, yet without overkill. Being so early in the season, and with a limited run to boot, one hopes the awards circuit doesn't forget that she came, she saw and she conquered this behemoth of a role.

I am so glad I gave this chestnut of a show a chance. I left the Hudson on a cloud of absolute happiness with a goofy grin plastered on my face. What a great feeling! This is one not to miss!

📸: J. Marcus

REVIEW: Sweeney Todd (New Cast)

Review of the matinee performance on Sunday, February 25, 2024 at the Lunt-Fontanne Theatre in New York City. Starring Aaron Tveit, Sutton Foster, Joe Locke, Maria Bilbao, Daniel Yearwood, Michael Kuhn, Jamie Jackson, John Rapson and Ruthie Ann Miles. Book by Hugh Wheeler. Music and lyrics by Stephen Sondheim. From an adaptation by Christopher Bond. Scenic design by Mimi Lien. Costume design by Emilio Sosa. Lighting design by Natasha Katz. Sound design by Nevin Steinberg. Orchestrations by Jonathan Tunick. Choreography by Steven Hoggett. Direction by Thomas Kail. 2 hours 45 minutes, including one intermission.

Let me get right to what you really want to know. Sweeney Todd is as amazing as ever - different from when it opened, but just as amazing. Over the years, I've seen more than a dozen different productions of Sondheim's masterwork, and I've seen more than a dozen different interpretations of its characters. Both Aaron Tveit and Sutton Foster more than deliver the goods in terms of acting, singing, and a fresh take on these iconic characters.

Let me also say that neither of their performances sound like those first night audio bootlegs. They sing this score wonderfully, with a beguiling mix of straight singing and character-driven choices. Ms. Foster, particularly, employs her voice to great effect in a wide range of ways, from kooky matron to motherly affection to downright sinister villain. Mr. Tveit, meanwhile, lets Sweeney build, from anger to vengeance to bloodthirsty maniac. What is particularly gratifying are the undercurrents of both of their performances that add a grounding to their interpretations. She, underneath, is a bubbling mess of desperation - desperate to find success, to woo her beloved, to simply survive. Meanwhile, a tragically profound grief informs everything he says and does. 

This production has always leaned heavily into the Grand Guignol tradition, with a heaping helping of melodrama and penny dreadful horror. Tveit's portrayal, a fascinating ebb and flow of cocksure preening and tortured brooding reaches its first climax with his explosive "Epiphany," and later in the climactic finale where the grim reality he faces brings a moment of clarity that is simply chilling. The physicality of Foster's Mrs. Lovett, often very sexually charged, calls to mind the great physical comediennes of a long lost Broadway. She piles it on pretty thick, which might not sit too well with some viewers, but every choice she makes is a study in desperation and an almost gruesome lack of self-awareness. And yet, you can read the calculative smarts this woman has - she may seem flighty and silly, but she is a groomer of the highest (lowest?) order. The most telling moment of her entire performance comes during "Not While I'm Around," when she tries to soothe her young charge with bribes of candy and a hand-knit scarf all with her cheery silliness. The second she realizes she's been found out, her face changes instantly, a veil of darkness slides onto her face, her eyes become steely in their glare, her smile replaced by grim, set lips. 

Speaking of "Not While I'm Around," that number, in the hands of newcomer Joe Locke, was worth the entire price of admission. Yes, I find him to be quite good - excellent, in fact - in Heartstopper, but nothing prepared me for what he does here. Utterly charming and completely captivating, this young man is hard to keep your eyes off of. His chemistry with Ms. Foster is palpable. He has a pure, powerful voice, and a real gift for both comedy and heartrending emotion. Mr. Locke has the unique ability to seem fresh and seasoned simultaneously. One hopes that he will return to Broadway soon and frequently; his is a not-to-be-missed debut. 

Unfortunately, there is now a weak spot where there wasn't one before, and that is with Daniel Yearwood's unfortunate pop star take on Anthony. He reads his lines alright, I suppose, but nothing that comes out of his mouth matches the tone and style of the rest of the company. There is nothing beyond his one-dimensional "I'm the good guy" vibe, and while he sings alright, there is no real passion, wonder or even humor in his voice. Everyone on the stage is in an operatic melodrama, while he's on the 80s on 8 channel. As luck would have it, there was a fifth "newcomer" in the role of Pirelli, Michael Kuhn. He was pretty wonderful - one of the most well-articulated Pirellis I've yet seen, and his comic timing was perfection. Best of all, the plot twist of his character's relationship to Barker/Todd was crystal clear and delightfully nefarious, no small feat.

The rest of the company remains excellent, with solid performances from Maria Bilbao as Johanna and Ruthie Ann Miles as the Beggar Woman. But I have to say that both Jamie Jackson, as the thoroughly wicked Judge Turpin, and John Rapson, as the equally thoroughly wicked Beadle Bamford, really impressed me this time around, each nailing a balance between genuine evil and mustache-twirling melodrama villains, making their deaths... satisfying.

I am really glad I paid another visit to Fleet Street. Its thrills and chills are as powerful as ever - but the wonder of it is that they come in fun, unexpected ways this time around.

📸: M. Murphy/E. Zimmerman

REVIEW: The Music Man

Review of the Saturday, January 22, 2022 matinee performance at the Winter Garden Theatre in New York City. Starring Hugh Jackman, Sutton Foster, Shuler Hensley, Jefferson Mays, Jane Houdyshell, Marie Mullen, Remy Auberjonois, Gino Cosculluela and Benjamin Pajak. Book, music and lyrics by Meredith Willson. Story by Meredith Willson and Franklin Lacey. Set and costume design by Santo Loquasto. Lighting design by Brian MacDevitt. Sound design by Scott Lehrer. Orchestrations by Jonathan Tunick. Choreography by Warren Carlyle. Direction by Jerry Zaks. 2 hours, 30 minutes including intermission. Grade: A

When you walk into the Winter Garden and sit down these days, you are greeted with the enormous wood slat wall painted barn red and festooned with early 20th Century small town advertisements. Its size impresses, its bright color fairly begs you to buy into this slice of Americana. Soon enough, the walls part, and a technicolor world unfolds with scene after scene of American achievement (for better or for worse) bombarding the senses - a train, Main Street, a community hall, and quaint, dollhouse-like homes, complete with framed cross-stitch sayings on the wall. Yes, Santo Loquasto's sets are a feel-good feast for the eyes, and yet they don't overwhelm, are often simple, but always have an eye for the old-fashioned feel one associates with hand sewn quilts. In fact, the huge drops even look like they are made of a patchwork of another quintessentially American thing, steel. Being set on the 4th of July, pretty much everything is draped in red, white and blue bunting. Loquasto's costumes are exactly what one would expect for a traditional revival of Meredith Willson's The Music Man. But that's fine, really. A traditional staging of a traditional musical may be just what we need as we try to return to normalcy.

Jerry Zaks has directed a taut, exuberant feast of laughs, and a warm hug of romantic sweetness. He, wisely, I think, lets The Music Man be The Music Man. Actually, with one exception, the entire creative team pretty much stays out of the way. That exception, in the spectrum of things, isn't a deal breaker, but it comes in a rather odd re-do of the infamous "Shipoopi" number. 

Already a dubious inclusion in any production of this classic, and here it has been practically rewritten/reorchestrated, it brings the entire show to a grinding halt - no small feat considering it opens act two. Warren Carlyle has choreographed the number to within an inch of its life. It feels like it takes an eternity to get through, though it does pick up considerably when Marian finally loosens her corset and joins Harold in a real bonding moment. Don't get me wrong, the uber talented multi-generational ensemble is amazing here, as they are throughout - I'd go so far as to say that, to a person, they are the most exciting ensemble Broadway has seen in years. "Shipoopi" is really an outlier, as the other big numbers are bold, brassy, character-driven thrill rides, particularly with the charming sophistication of "Marian the Librarian" and the showstopping "Seventy-six Trombones."

The talent runs deep in this company, where those making their Broadway debut represent the bright future of musical theater, and the seasoned, award-winning veterans prove that they are still bright, shining stars. Among the new generation are two young men who are exciting performers, destined to be household names: Gino Cosculluela as the misunderstood rebel Tommy Djilas - what a dancer! what a presence!, and the absolutely adorable, but so real and so grounded Benjamin Pajak as Winthrop Paroo. To all of their credit - and Zaks' firm hand, I'm sure - not a single child in this production indulges in even the slightest hint of cloying behavior.

Meanwhile, two of my all-time favorite "groups" are given ample opportunity to set a new standard of delight, which they do. I'm speaking, of course, of the "pick-a-little" ladies and River City Quartet, and every time they sing, it is a burst of joy. The ladies are led by the force of nature that is Jane Houdyshell (she got well-deserved entrance applause the day we saw it). She makes a meal out of every line she utters, and wrings every possible nuance out of Eulalie's signature "Balzac." Another absolute treasure is Marie Mullen whose Mrs. Paroo is a tower of strength with a generous pinch of sass, all wrapped up in a warm hug. She was wonderful. Then there is the always terrific and hilarious Jefferson Mays who's Mayor Shinn is a riot of blustering outrage and incompetence, bulging veins and red face on full display. Finally, it was a pleasure to watch Shuler Hensley have such a ball playing Harold Hill's confidante and co-conspirator. He was having fun making us have fun.

It goes without saying that any really successful production of this show rests in the hands of the music man and his adversary-turned-champion. I think this revival has hit the veritable jackpot. What I most appreciate is that neither Sutton Foster nor Hugh Jackman try to replicate what we are used to seeing. Separately, they are a pair of whirlwind tours-de-force on a well-earned (if inevitable) collision course. 

With his billion watt smile and charming sex appeal, Jackman wins over everyone in the building. His song and dance man talents are off the charts, which makes all of his conniving easier to swallow, yet more dangerous perhaps than it is usually played. Normally, a Music Man audience gets to sit in smug delight thinking they'd never be taken by such a trickster, but this time around, the audience is just as taken in as the citizens of River City. The reality of Americans being taken by an unqualified smooth talker full of excuses, diversions, and crowd-pleasing explanations that don't hold up, is what's going on here. Sound familiar?

Then there's Foster, who is an inspired choice. Her Marian is not the fussy, nose-in-the-air ingenue with the high register who caves. No, this Marian Paroo is every bit the match for this Harold Hill. Her machinations in trying to expose him as the fraud he is feel much more subversive - witty and smart, not vengeful. Foster also brings considerable depth to the role, at times feisty and aggressive, always protective, and still somehow warm and caring. So what if she doesn't sound like Barbara Cook or Rebecca Luker? I don't think either of them would have worked as well with Jackman. You see, together, their chemistry is palpable but not overbearing, and you can believe that she would follow the big lie because she can see that end justifies means here, when it means that her little brother can be happy and thriving. The closing moments of this version are the first where I've ever really felt like Marian is a part of the fabric of River City, not some unattainable ideal. 

I suspect that the next time The Music Man comes around, it may be an edgier production that leans into the score's undeniable rap numbers. (Did Willson write a hip hop musical?) And maybe it won't read like a living Grandma Moses painting, all idealistic and patriotic. I look forward to that. But for now, maybe comfort food Amricana is what we all really need.

📸: J. Kyler, J. Marcus, J. Cervantes

Musical of the Month: The Drowsy Chaperone : The Cast

This charming little musical was all the more charming because of its thoroughly stellar cast. The talent on this roster of the original Broadway cast is mind-boggling. Not just chock full of award-winners, this company boasts several current day stage royalty. Most of them have had quite the career since The Drowsy Chaperone closed at the end of 2007! Let's see what they've been up to!

Musical of the Month:

The Drowsy Chaperone

The Cast

DANNY BURSTEIN (Adolpho): Currently, he's generating a lot of awards buzz for his boisterous, over-the-top turn as Zidler, owner and emcee of the Moulin Rouge! But he's been no stranger to the stage since Drowsy. There have been plays: Golden Boy and The Snow Geese. Musical revivals: South Pacific, Follies, Cabaret, Fiddler on the Roof and My Fair Lady. And (a personal favorite) a new musical: Women on the Verge of a Nervous Breakdown. Along the way, including Drowsy, he's been honored with 6 Tony Award nominations!

GEORGIA ENGEL (Mrs. Tottendale): Sadly, The Drowsy Chaperone  was her final Broadway appearance, though she was a part of the out of town tryout of Gotta Dance. Ms. Engel passed away in 2019.

SUTTON FOSTER (Janet Van De Graaff): A modern Broadway legend, Sutton Foster remains a regular on the New York stage. Following her Tony-nominated turn in Drowsy, she's been seen in Young Frankenstein, Shrek: The Musical (Tony nom), Anything Goes (Tony Award - Best Actress), and Violet (Tony nom). Off-Broadway, she appeared in a much talked about revival of Sweet Charity. Next up: a little show called The Music Man, with Hugh Jackman.

EDWARD HIBBERT (Underling): Since Drowsy, this fantastic character actor has appeared on Broadway in Curtains, Mrs. Warren's Profession, It Shoulda Been You, and Something Rotten!

TROY BRITTON JOHNSON (Robert Martin): He hasn't been seen since.

EDDIE KORBICH (George): Since Drowsy, he's played a judge (A Gentleman's Guide to Love and Murder), a doctor (Breakfast at Tiffany's), Santa Claus (A Christmas Story) and... a seagull! (The Little Mermaid) Talk about range!

GARTH KRAVITS and JASON KRAVITS (Gangster #2 and Gangster #1): Each Kravits has returned to Broadway just once since Drowsy. Garth was in Gettin' the Band Back Together; Jason was in Relatively Speaking.

BETH LEAVEL (The Drowsy Chaperone): The lady has been busy since winning a Tony Award as the title character! Her Broadway appearances include Mamma Mia!, Young Frankenstein, Elf, Baby It's You! (Tony nom), Bandstand and The Prom (Tony nom).

KECIA LEWIS-EVANS (Trix): Since her Drowsy days as the aviatrix, Ms. Lewis-Evans has been seen on Broadway in Chicago, Leap of Faith and Children of a Lesser God.

BOB MARTIN (Man in Chair): Not only did he win a Tony for Best Book of a Musical, Martin was also nominated for Best Actor in a Musical for Drowsy. In the years since, he's written the book for Elf, and was again nominated for a Best Book for his work on The Prom.

JENNIFER SMITH (Kitty): Ms. Smith is the quintessential Broadway ensemblist. In a career that goes all the way back to the mid-80s and the original production of La Cage aux Folles. Since her time in Drowsy, she has added five more credits to her resume: A Tale of Two Cities, Nice Work If You Can Get It, A Gentleman's Guide to Love and Murder, Tuck Everlasting and Anastasia.

LENNY WOLPE (Feldzieg): His most recent credits include Wicked (national tour and Broadway) and Bullets Over Broadway.

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The Friday 5 Quiz: The Broadway Costumes of Sutton Foster

It's Friday 5 Quiz time! And, thanks to a great suggestion sent in by Marcus T. from Queens, today's game is all about the costumes 2-time Tony Award winner Sutton Foster has worn on the Broadway stage. Her career has afforded her the chance to wear some pretty spiffy and glamorous clothes from different eras. By looking at just a small piece of each, can you name the show and the character Sutton is playing? Good luck!

The answers will appear at the end of next Friday's column. And if you have any ideas for future quizzes, send an email or Tweet. Our addresses are at the top!

The Friday 5 Quiz:

The Broadway Costumes

of Sutton Foster

Example: Sweet Charity Charity Hope Valentine

1.

2.

3.

4.

5.

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Star-Gazing: Who's on Broadway This Spring (L - Z)

Last week, I talked about the incredible star power coming to the Broadway stage in all the spring shows, from A to L.  You can see that HERE.  And it says something about the one show that has no Tony nominees or winners in shows L - Z, but still has an internationally known film and stage actor in the lead (The Cripple of Inishmaan's Daniel Radcliffe).  And you could say the same for Of Mice and Men with a Tony winner in a supporting role, and a famous leading man, film star James Franco.  You can see why I am really looking forward to the rest of this season!

And kdogg36, the first show on today's list is just for you!

Tony winners Tyne Daly and Jim Norton

are back this spring!

PERFORMER	KNOWN FOR	TONY NOMS	TONY AWARDS
Lady Day at Emerson’s Bar and Grill
Audra McDonald	Stage, TV	2 incl. Marie Christine	5 incl. Ragtime, Porgy and Bess
Mothers and Sons
Tyne Daly	Stage, TV	1 Rabbit Hole	1 Gypsy
Bobby Steggert	Stage	1 Ragtime
Of Mice and Men
Jim Norton	Stage		1 The Seafarer
A Raisin in the Sun
Stephen McKinley Henderson	Stage	1 Fences
Anika Noni Rose	Stage, Film		1 Caroline, or Change
Denzel Washington	Film, TV, Stage		1 Fences
The Realistic Joneses
Toni Collette	Stage, Film, TV	1 The Wild Party
Tracy Letts	Stage		2 incl. August: Osage County (Pulitzer Prize)
The Velocity of Autumn
Estelle Parsons	Stage, Film, TV	4 incl., Morning’s at Seven
Stephen Spinella	Stage	1 James Joyce’s The Dead	2 incl. Angels in America
Violet
Ben Davis	Stage, Opera		1 La Boheme (Tony Honors)
Sutton Foster	Stage, TV	3 incl. Little Women	2 incl. Anything Goes
Joshua Henry	Stage	1 The Scottsboro Boys
TOTAL		15 Nominations	16 Awards + 1 Pulitzer

Jeff

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