Broadway 3-peats: Bonnie Milligan

In hockey, three goals in a single game is called a "hat-trick," and three strikes in a row is called a "turkey." When a team wins a championship three times in a row, they call it a "three-peat."

While it might be feasible to call a Broadway performer with three great performances a "hat-trick" - particularly a dancer, I suppose, it is only a negative to call anything Broadway related a "turkey." And so, I've settled on calling a run of three terrific performances a "3-peat." 

First up: Tony Award-winner Bonnie Milligan.

Broadway 3-peats:

Bonnie Milligan

Role #1: Pamela in Head Over Heels (2018)

As an unconventional princess in an unconventional jukebox musical, Bonnie bowled me over with her belty "Beautiful," bringing body positivity into the Broadway conversation, and a great new talent into the spotlight. I've been a smitten fan ever since. Of her Broadway debut, I wrote, "That newbie is the positively smashing Bonnie Milligan, who is everything you've read and heard about, and so much more. She's one of those people who you just know was born to be on stage. She is charming, alarming and an absolute joy to watch. Whether she's singing an ode to her own beauty or throwing an epic temper tantrum, she is a marvel of what comes off as spontaneity, and her line delivery is impeccable. The gal is going places and I can't wait to see more." Even then I knew she was something special.

She was honored with a 2019 Theatre World Award for her performance.

Role #2: Aunt Debra in Kimberly Akimbo (2022)

As the felonious Aunt Debra, Milligan had us howling as she taught the fine art of mail fraud to a group of teens. And, of course, she once again stopped the show with her signature belt and fiery delivery in the number, "Better." The first time we saw the show, I wrote, "Kimberly's family is a hot mess, almost making her debilitating and tragic sickness the least of her worries. Hilariously and pitifully white-trash, each are perfectly cast... Bonnie Milligan, the larger than life aunt, and so bad the family moves around just to get away from her. They are all by turns bat-shit crazy, morally appalling, and complex in ways that are surprisingly heartwarming. Each has stand out moments, with Ms. Milligan blowing the roof off the theater with what has become the riotous breakout song from the show, "Better."

Ms. Milligan won the 2023 Best Performance by an Actress in a Supporting Role in a Musical Tony Award.

Role #3: Alice Beane in Titanic (2024)

In a small role in the epic musical, Bonnie once again captivated the enthralled audiences at Encores! presentation of the rarely performed show. In a fun twist, she played 2nd Class passenger (and rabid social climber) Alice Beane, the role her Kimberly Akimbo co-star, Victoria Clark, originated on Broadway! In my review, I said, "Soon to be Broadway royalty Drew Gehling and Bonnie Milligan as Edgar and Alice Beane, 2nd class, offer up many of the show's comic moments as she attempts to social climb, while he, completely smitten, tries to keep her in her place. Their separation in the final moments is a heartbreaking thing."

Three roles, three powerful performances. Critical acclaim and awards! And she's only getting started!

Let us know of another "3-peat" Broadway performer you'd like to see us honor.

REVIEW: Titanic

Review of the Saturday, June 22, 2024 matinee performance at New York City Center in New York City. A presentation of the Encores! series. Starring Ashley Blanchet, Adam Chanler-Berat, Chuck Cooper, Eddie Cooper, Lilli Cooper, Andrew Durand, Drew Gehling, Alex Joseph Grayson, Ramin Karimloo, Emilie Kouatchou, Judy Kuhn, Jose Llana, Bonnie Milligan, Ari Notartomaso, Nathan Salstone, A.J. Shively, Brandon Uranowitz, Samantha Williams and Chip Zien. Book by Peter Stone. Music and lyrics by Maury Yeston. Orchestrations by Jonathan Tunick. Scenic design by Paul Tate dePoo III. Costume design by Marion Talán de la Rosa. Lighting design by David Weiner. Sound design by Megumi Katayama. Conductor/music direction by Rob Berman. Choreography by Danny Mefford. Directed by Anne Kauffman. 2 hours 30 minutes, with one intermission. This production closed with the Sunday, June 23, 2024 evening performance.

"How did they build Titanic?" asks an awestruck Barrett, ship's stoker about to embark on the maiden voyage of the storied liner. One need only to have seen the stunning Encores! revival of the musical classic to understand how Peter Stone (book), Maury Yeston (music and lyrics) and Jonathan Tunick (orchestrations) built Titanic. This bare bones revival shows this piece off in all of its dramatic glory, unfettered by special effects and grand design.

That's not to say the design team was less than stellar. No, it is just the opposite. Determined to retain the early traditions of the Encores! series while maintaining the idea that the Ship of Dreams was just the vessel by which to tell a deeply human story, the team suggests the grandeur and keeps the focus where it should be: on the doomed passengers and crew of the largest floating object in the world. Paul Tate dePoo III's bi-level set allows for multiple scenes at once, and keeps the real star of the show - the music - in full view at all times. (The Encores Orchestra, larger than that of the original production, is marvelous under the baton of Rob Berman.) The costumes, designed by Marion Talán de la Rosa, suggest crew rank and passenger class with ease and elegance, just as David Weiner's simple lighting, featuring bars of light, conveys location, time and emotion. However, the designer that really stands out for me is Megumi Katayama, who allows us to hear every instrument, note and voice with a clarity one might expect from high end ear buds- no small feat given the cavernous space of the venue.

It is the ingenuity and care taken by director Anne Kauffman that takes this far beyond a concert staging, though. Where the company uses their bound scripts as props that suggest angelic choirs on occasion, and music stands represent stations on the ship's bridge, this style of presentation is fully integrated into the piece, making it feel natural. A main theme of the musical - and in real life - is that of social standing, and Kauffman subtly and powerfully stages the show to reflect that. With ship's officers arriving and departing the scenes in military-like formations, the crew generally and effectively relegated to the background until called upon, one understands immediately the rank and power structure aboard ship. The first class passengers are given the full stage and always a seat if needed, while the second class is given a sort of no-man's land of most of the stage, but always from the outside looking in, and the third class is given the least amount of stage, most often in tightly boxed configurations of set pieces, forcing them to find space to sit where they can, including the floor. Interesting how those set pieces, mostly long blue boxes, stand in as crew work benches, first class dining, and, poignantly, a lifeboat. In the final scenes, as all of the classes sit on the deck together awaiting their fate, death being the great equalizer, those boxes remain, unused and ominously in full view, coffin-like. The complete staging is a wonder befitting such a grand work and tribute to all of the survivors and souls lost in one of the world's greatest tragedies.

What an absolute privilege to be in the same room with this illustrious cast, a who's who of talent with careers spanning forty some years. To think that the ensemble alone counts among its ranks actors who have played Christines, Cosettes, Phantoms and any number of prominent roles in recent years on New York and West End stages tells you the level of quality here. Ensemble standouts include Ali Ewoldt (Phantom of the Opera), Evan Harrington (Avenue Q), Leah Horowitz (Follies, Les Miserables), Michael Maliakel (Aladdin, Kennedy Center's Sunset Boulevard) and Matthew Scott (An American in Paris).

 

The principal cast is impeccable. Andrew Durand (Jim Farrell, 3rd class), Lilli Cooper, Samantha Williams and Ashley Blanchet ("The Three Kates", 3rd class) bring an earthy optimism to the performance, particularly the lovely ode to the American Dream, "Lady's Maid." Blanchet also scores as the enigmatic Charlotte Cardoza, a woman who aims to get everything a man can get. A.J. Shively and Emilie Kouatchou (the Clarkes, 2nd class) are sweetly romantic and well-sung as the ill-fated engaged couple.

Broadway royalty Chip Zien and Judy Kuhn take on the emotional core of the piece in the roles of Isador and Ida Straus, 1st class, whose 11 o'clock duet "Still" nearly stopped the show. Soon to be Broadway royalty Drew Gehling and Bonnie Milligan as Edgar and Alice Beane, 2nd class, offer up many of the show's comic moments as she attempts to social climb, while he, completely smitten, tries to keep her in her place. Their separation in the final moments is a heartbreaking thing, while the Straus' resolve to remain together is equally sorrowful. Both couples had chemistry that reached the furthest rows of the theater.

 

Among the crew, powerful performances abound. As cabin boy and Fleet, lookout, Ari Notartomaso and Nathan Salstone, respectively, represent the bright future of live theater. Adam Chanler-Barat is quite touching as Murdoch, 1st officer, tortured by his own lack of confidence and paralyzed by the knowledge that his actions might have caused the sinking. Alex Joseph Grayson is duty personified as radioman Bride, and the incomparable Ramin Karimloo is no less than brilliant as stoker Barrett. Their duet, "The Proposal/The Night Was Alive with a Thousand Voices" was thrilling, as was Karimloo's solo, "Barrett's Song (The Screws Were Turning)." And watching the shrewd manipulation of the 1st class passengers by Steward 1st Class Etches (the delightful Eddie Cooper) was comedic and satisfying. 

Finally, as the trio in charge, Chuck Cooper (Captain E.J. Smith), Jose Llana (ship architect, Thomas Andrews), and Brandon Uranowitz (J. Bruce Ismay, Director of the White Star Line) create such a building tension that when things come to a head, it is an explosive reminder that their beliefs and machinations created the perfect storm of tragic inevitability. It is never more clear than when the three clash in "The Blame," and all sides must own a piece of the responsibility. Cooper's quiet resolve and acceptance of the captain's fate, Llana's manic desperation at Andrews' futile attempts to fix things even as the ship sinks, and Uranowitz's vivid portrayal of Ismay's maddening greed, lust for glory and ultimate cowardice, are a brutal encapsulation of all those things that have brought men down for centuries. Separately, each is at the top of their game; together, they are everything that makes modern musical theater a still potent art form.

And so it seems Encores! has returned to its roots of 30 years ago: infrequently produced classics with simple staging that emphasizes the music, book and acting. Its sheer size and the physical requirements practically demanded by audiences, makes Titanic the ideal production for this series, as we may never see something like this fully staged again.

📸: J. Marcus

Looking Forward to Summer - June - August 2024

Looking Forward to Summer:

June - August 2024

The summer months are upon us, and with it the heat, the Tony Awards, closings and some off-season openings. Much like this time last year, with its three major musical openings, the coming months are busy, with two plays - a revival and an off-Broadway transfer, an Encores! opening of a modern classic, and an Encores! Broadway transfer. All are limited engagements. So this summer, we'll be playing catch up from last season's monster-size schedule and getting a head start on what looks to be an exciting 2024-2025.

As we always do, before we look forward, we look back to remember and evaluate. Over the last quarter, we saw nine productions! Among them were thrilling musicals that catapulted to our list of all-time favorites (Illinoise, The Outsiders, Water For Elephants, The Notebook), an instant classic new American play, Stereophonic, and an electrifying play revival (Appropriate). We were also thrilled by the exciting new musical, Lempicka which dared to be exactly what musical theater fans have been asking for: an original piece with an inclusive, contemporary sensibility. Two of my favorite shows, Merrily We Roll Along and The Who's Tommy, were revived, and frankly, I found both proficient, but not particularly exciting.

Now, here's what we are looking forward to this summer:

Off-Broadway:

Encores! Titanic

One of my favorite shows of the last 30 years, I've been looking forward to seeing this revival since it was first announced this time last year. I can't wait to hear Maury Yeston's gorgeous score played by the amazing City Center Orchestra, and sung by a truly all-star Broadway cast. And I'm curious to see how they will stage it.

Broadway:

Oh, Mary!

2024 Theatre World Award honoree Cole Escola and Conrad Ricamora were enough to pique my interest, and a light summertime comedy sounds great for these troubled times. I could use a hearty laugh, and I hear that's a guarantee with this hit off-Broadway transfer. 

Once Upon a Mattress

As someone who revels in the history of musical theater, I can't pass up a chance to see this popular classic. In fact, I'm surprised that this Mary Rodgers tuner has evaded me all these years. So, when this Encores! transfer was announced with stars Sutton Foster and Michael Urie, I just had to add this to my list of must-sees.

Holdovers From Last Season:

Suffs

Snagged some great seats to this show (and at a great price, to boot) when the positive word-of-mouth continued unabated weeks after it opened. I'll admit that I wasn't particularly interested after its tepid reception off-Broadway. But apparently, they really put in the work - would that more shows did this - and added some of my favorite actors (including Jenn Colella and Emily Skinner). And so, later this week, we will be joining the march at the Music Box.

Hell's Kitchen

13 Tony nominations are hard to ignore, but I'll be honest, the biggest name attached to this musical, Alicia Keys, isn't that big a draw for me. I mean I appreciate her talents, but outside of a song or two, I can take or leave her. On the other hand, I really have enjoyed their release of the new song, "Kaleidoscope," and the new video they created. Finally, I've heard nothing but great things about Broadway debutante, Maleah Joi Moon, and there's nothing I find more satisfying than witnessing a star-making performance.

What shows are you looking forward to this summer? Let us know by commenting below, or Tweet, Threads or IG us, all @jkstheatrescene .

At This Theater: The Lunt-Fontanne

Over the years, I've seen 11 shows at the Lunt-Fontanne Theatre, and they ran the gamut from cringe-worthy to worthy favorite. I've also had the opportunity to sit in pretty much every location, and despite its cavernous seating area, the only place I wouldn't recommend is the rear orchestra, where you miss anything at the top of the stage thanks to a low-hanging mezzanine. Interesting fact: Mike and I sat in the same exact seats (Orch J 10-12) for three different productions, and we really liked the view from there - the proscenium is wide. But I have to say my favorite locale is the front mezzanine, which affords an excellent view and still feels close. It also offers close proximity to the theater's best feature, the spacious mezzanine lounge/bar area, with room for to merch booths and room to move. The merch area behind the orchestra seats is ridiculous, especially after the show is over.

At This Theater:

The Lunt-Fontanne

So, of the 11 shows I saw there, I found something to like about all of them, but if I had to pick a "worst," it would have to go to The Little Mermaid, an ugly and mis-directed piece, simultaneously extravagant and cheap looking. The only good thing about it was Ariel herself, Sierra Boggess. Even the mega-flop The Best Little Whorehouse Goes Public had its campy delights, including chorus girls in plexiglass cubes, the always reliable Dee Hoty, and a horse that took a dump during the curtain call. I could belabor the point, and name something good about the largely mediocre middle group, but instead, I'll just wax sentimental about my 5 favorites At This Theater.

# of Shows We Saw There: 11

Shows We Saw There: Tina, Finding Neverland, Motown: The Musical, A Christmas Story: The Musical, Ghost: The Musical, The Addams Family, The Little Mermaid, Beauty and the Beast, Titanic, The Best Little Whorehouse Goes Public, Smile

The 5 Best Shows We Saw There:

          

5. Beauty and the Beast (1999*) Although it was downsized when the show moved from the Palace Theatre, it was still a pretty spectacular production, and it is still my favorite of all the Disney Broadway musicals. Of course, having a great story and an even better score doesn't hurt. I hear there's a revival in the works. I can't wait. 

* - Beauty and the Beast opened at the Lunt-Fontanne in 1999

4. Smile (1986) I've said it before, and I'll keep saying it: they never should have "softened" the book to make it more "nice" for Broadway. The out of town try-out in Baltimore was opening night ready. Tuneful, ironically bright visually, smart and razor-sharp, the book had the heat of a jalapeno and the bite of snake. When I listen to the score (God, I wish they'd made a full-out cast recording!), I think of it in terms of the original book. Amazing how much more significant Howard Ashman's lyrics seem in that context...

     

3. Finding Neverland (2015) They had me from Tinkerbell's entrance and all the way through to the epic death scene. I tell you, I wept. Ugly cried. Though I know the show has its detractors, I found it charming, creative and heartfelt.

2. Tina (2019) So, I have a love-hate thing for bio-musicals. If the story is meh, I don't care how great the performances and songs are (Beautiful). If the story is interesting, the presentation creative and the songs are good, I'm much happier (On Your Feet!). But when the story is intelligently told, warts and all, beautifully staged, and has uniformly superb performances, I love it just as much as a "regular" musical. And that's Tina. What a production! And will all due respect to Ms. Warren, we were thrilled to see her alternate, Nkeki Obi-Melekwe, in a spectacular Broadway debut.

1. Titanic (1997) All four times I saw this gorgeous musical, the boat sank. And each time, I felt the human toll of the tragedy. Long before Rosie O'Donnell became its biggest fan, and crowds began flocking to it, I adored it. One of the things I like about it most, was the relative austerity of the show. Presented as a series of blueprint-like drawings (it is told from the ship's designer's point of view, after all), we were made to focus on the crew and passengers, lavishly costumed, instead of the grandeur of the ill-fated and oft-photographed passenger liner. The people were the point, not the set. Still, it was pretty jaw-dropping to watch the stage tilt and a grand piano slide by. But, in truth, the absolutely stunning score by Maury Yeston, played by a full orchestra and sung by a huge company was what kept me coming back. Revival, please.

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