It's 1994 All Over Again

Broadway loves repeating itself - nearly back to back revivals of The Glass Menagerie, and the so-soon-after-the original-closed production of Into the Woods, and the every-few-years return of Gypsy all leap immediately to mind.  But does this season feel like deja vu all over again to you?  It sure does to me... the comparisons to the 2017-2018 and 1993-1994 seasons are kinda freaky!

Both seasons include:

Musical Revue of Works By Major Theater Practitioners 

• 1993-1994: A Grand Night For Singing - An evening celebrating the career of Rodgers and Hammerstein (Criterion Center Stage Right; 41 previews, 52 performances)
• 2017-2018: Prince of Broadway - An evening celebrating the career of Hal Prince (Samuel J. Friedman Theatre; 23 previews, 76 performances)

Doesn't get much bigger than these three legends, does it?

1993-1994

2017-2018

"Heart"

• 1993-1994: The song was part of the full-scale revival of Damn Yankees at the Marquis Theatre, starring Victor Garber, currently appearing in another full-scale revival, Hello, Dolly!
• 2017-2018: The song was part of the musical revue, Prince of Broadway

A classic song to be sure.

1993-1994

2017-2018

Small, One-Act Musicals

• 1993-1994: Passion: A small, critically acclaimed one-act musical by Stephen Sondheim and James Lapine (Plymouth Theatre, 52 previews, 280 performances; Tony Award for Best Musical)
• 2017-2018: The Band's Visit (Ethel Barrymore Theatre, 36 previews, 132 performances and counting; current front-runner for Best Musical)

Passion, the current record holder for shortest run for a Best Musical, was a love-hate thing for many theater-goers (I love it), featuring a breakout performance by a leading actress, Tony Award winner Donna Murphy.  I suspect The Band's Visit, will run longer, best musical or not, also a love-hate thing for theater-goers (I love it), featuring a breakout performance by a leading actress, Katrina Lenk.

1993-1994

2017-2018

Disney Musicals

• 1993-1994: Beauty and the Beast, part of a Disney animation studios renaissance, the first stage musical and start of a modern-day producing dynasty; with added songs that people either love or hate. (Palace Theater, Lunt-Fontanne Theatre, 46 previews, 5461 performances)
• 2017-2018: Frozen, part of a Disney animation studios renaissance, the most recent stage musical of a modern-day producing dynasty; with added songs that people either love or hate. (St. James Theatre, 9 previews...)

Of the films in that first Disney renaissance, Beauty and the Beast, was my favorite, and I adored the stage version at the Palace Theatre, which starred one of my favorite Broadway actors ever, Terrence Mann as the Beast.  Of the films in this current Disney renaissance, Frozen is one of my favorites, and I'm really looking forward to seeing two of my favorite Broadway actresses ever, Patti Murin and Caissie Levy as Anna and Elsa.

Revival of My Fair Lady

• 1993-1994: My Fair Lady, the Lerner and Loewe classic, starring Richard Chamberlain and Melissa Errico (Virginia Theatre, 16 previews, 165 performances)
• 2017-2018: My Fair Lady, the Lerner and Loewe classic, starring Harry Hadden-Paton and Lauren Ambrose (Vivian Beaumont Theatre, previews begin March 15, 2018)

Revival of Carousel

• 1993-1994: Carousel, the Rodgers and Hammerstein classic, starring Michael Hayden, Sally Murphy, Shirley Verrett, Audra Ann McDonald (Vivian Beaumont Theatre, 37 previews, 338 performances)
• 2017-2018:Carousel, the Rodgers and Hammerstein classic, starring Joshua Henry, Jessie Mueller, Renee Fleming, Lindsay Mendez (Imperial Theatre, 5 previews...)

This classic arrived on Broadway in the 90's already a critical smash from London; Audra Ann McDonald won her first Tony for playing Carrie.  This classic arrives on Broadway this year and is already the talk of the town - and mixed-to-negative talk at that. Will Lindsay Mendez win her first Tony for playing Carrie.

Revival of Angels in America: Perestroika

• 1993-1994: Angels in America: Perestroika, the ground-breaking Tony Kushner epic, starring Stephen Spinella and Ron Leibman (Walter Kerr Theatre, 26 previews, 217 performances)
• 2017-2018: Angels in America: Perestroika, the classic Tony Kushner epic, starring Andrew Garfield and Nathan Lane (Neil Simon Theatre, 4 previews...)

In 1993, this sequel to Millennium Approaches joined the first play in repertory, and went on to win the Tony for Best Play, just like the first play. Now, both plays return to Broadway in repertory, the difference? Then it was new; now it is a classic. The Great Work returns. In 1993, Nathan Lane was on Broadway in Laughter on the 23rd Floor; Andrew Garfield was 10 years old.

Look for updates as the season continues and concludes!

Ms. Broadway March 2018: Tamyra Gray

I think I may be the only person in the USA who has never seen a single episode of American Idol. Though I have enjoyed many of the finalists in various Broadway shows, I'm always surprised to find out I've just seen one of the Idols.  Such is the case with Tamyra Gray, who was a stunning presence in my new favorite show, Once On This Island! I hope she continues to be a regular presence on the Main Stem.  She's building a solid resume already, replacing in Bombay Dreams, RENT and  now, Island; she was also in the National Tour of If/Then.  Her detailed, intense performance was matched by her powerhouse voice - just the kind of talent that has earned her the title, Ms. March.

A FEW FUN FACTS:

• Birthdate: July 26
• Birthplace: Takoma Park, Maryland
• IBDB Credits: 4 - 3 on Broadway and 1 National Tour (My favorite: Once On This Island! She was THAT good!)
• Her Broadway chops on American Idol: She sang "And I'm Telling You I'm Not Going" from Dreamgirls and "A House Is Not a Home" from the Promises, Promises revival.
• Family: Married to Hollywood writer Sam Watters; they have one daughter
• On Twitter: @tamyragray

American Idol:

I've seen Tamyra and Justin on Broadway.
How about you, Kelly?

Bombay Dreams:

RENT:

If/Then:

Once On This Island:

Mr. Broadway March 2018: Ari'el Stachel

If you Google Ari'el Stachel, you'll find a ton of articles. (Heck, Playbill posted a pictorial about him over the weekend!) You'd think he was the breakout star of The Band's Visit or something!  What you'll find is an interesting and inspiring story of an actor who has struggled to find his identity as an actor of Middle Eastern descent.  You'll read about a guy, who as a younger man portrayed himself as a African American for a while to findd acceptance, and then, after discovering a passion for the arts, has spent time portraying a Puerto Rican (in Netflix's Jessica Jones) and an African American rapper (in CBS's Blue Bloods).  But Mr. Stachel is on a personal crusade to increase visibility for actors of Middle Eastern descent in Middle Eastern roles.

Having found just that in The Band's Visit, he's discovered that he's now the role model he had always looked for. That's one of the many reasons why he's Mr. March.




A FEW FUN FACTS:

• Birthdate: Unknown - but he's currently 26
• Birthplace: Berkeley, California
• IBDB Credits: 1 (My favorite: The Band's Visit, of course! And what a way to start...)
• Awards: He's already been twice nominated for his role as Haled - 1 Lucille Lortel and 1 Drama Desk Award - Best Featured Actor in a Musical!
• IMDB Credits: 4 (My favorite: His appearance on Blue Bloods - I loved that episode!)
• If you pick just one article: From August 2016, Playbill . I wonder if one of the auditions he talks about was for The Band's Visit?
• His Website: http://aristachel.com/

Headshots/Candids:

Backstage at The Band's Visit - including some special guests!

Stachel, Hillary Clinton, Etai Benson

Ben Platt and Stachel

REVIEW: Once On This Island

Review of the Sunday, February 25, 2018 matinee performance at the Circle in the Square Theatre in New York City.  Starring Tamyra Gray, Norm Lewis, Alex Newell, Lea Salonga, Hailey Kilgore, Phillip Boykin, Kenita R. Miller and Isaac Powell. Book and lyrics by Lynn Ahrens. Music by Stephen Flaherty. Based on the novel My Love, My Love by Rosa Guy. Music supervision by Chris Fenwick. Choreography by Camille A. Brown. Direction by Michael Arden. 90 minutes; Once On This Island is performed without intermission.

Grade: A+

It was cold, gray and rainy on the afternoon we went to see the revival of Once On This Island. It was our fourth show in three days, and it had been a doozy of a weekend. The three shows we had seen up to this point were all a theater-lover's dream, and, frankly, I worried that maybe we were too tired to fully enjoy this last show, or that somehow, after such great luck with those other shows, this last one would disappoint. Well, I was no more than three steps into this unique space, and all my worries were gone in an instant.

The Company

The sights and sounds of an island took up all of my senses at once. It is clear that the expanse of beach laid out on the stage has been ravaged by a bad storm. Debris covers the sand, a fallen telephone pole has laid claim to several rows of now-crushed theater seats, and the already poverty stricken populace is revealed by walls covered with reclaimed corrugated tin and re-purposed signs. An 18-wheeler has backed up onto the beach as a recovery mission has clearly begun. The bright lights beating down through a haze and the clear blue of the inviting pool of water that disappears into the horizon are the only signs of what may normally be called a tropical paradise. The space recalls the recent horrifying pictures of Puerto Rico and other islands ravaged by Hurricane Maria, not to mention the ongoing crisis in Haiti; the level of detail in Dane Lafferty's scenic design, punctuated by Jules Fisher and Peggy Eisenhauer's gorgeous lighting and Peter Hylenski's spot-on sound design, is both disturbingly current and other-worldly. I was transported and invigorated.

This island - "a jewel of the Antilles" - slowly comes to life as its citizens arrive to begin clean up.  Relief workers are there too, offering medical assistance and a helping hand. We are part of the action as well when the inhabitants see us, greet us and offer a smile and a corny joke or two. Watching them work with such positivism is the first of many reminders throughout the next hour and a half of the inherent goodness of people. Next thing you know, the show starts and the outside world completely melts away.

Isaac Powell and Hailey Kilgore as Daniel and Ti Moune

Much like both Come From Away and The Band's Visit, Once On This Island is truly an ensemble effort. Sure there are larger roles for some, but the entire company functions as one, with the Storytellers just as indispensable as central characters. Everyone moves scenery, sings back up, and plays "found" instruments (craftily designed by John Bertles and Bash the Trash); I can't imagine the show without any one of the company members. Sure, part of this is a function of Lynn Ahern's fairy tale-like book, but this extremity of blissful cohesion is largely due to the visionary direction of Michael Arden. After his beautiful staging of Spring Awakening, Arden proves here that he's no fluke. He is a new, important voice in musical theater with a long career ahead of him, and we are all the better for it.  The thrilling choreography by Camille A. Brown adds to the vibrancy with dances and staging the evokes both traditional island rhythms and a contemporary sensibility. That the cast does most of this on piles of sand makes it all the more exciting.

Phillip Boykin as Tonton Julian

And what a cast this is!  Where to begin? How about the Broadway debut of Isaac Powell, who sings and moves like an athletic angel? This young man is a true triple threat with matinee idol looks and a smile as bright as a Times Square billboard. Half of the ill-fated central couple, he convinces as both the vulnerable, kind-hearted soul that right-side-of-the-tracks Daniel truly is and the cruel reality of a boy trapped by his station in life.  Making a difficult decision as he did was painful for him - his eyes tell this part of the story wordlessly - and felt like a stab in the heart for this audience member. Mr. Powell has the added advantage of working primarily with another Broadway debutante, Hailey Kilgore, who is nightly delivering a star-making performance, with the finesse of a multi-show veteran.  Her Ti Moune is wide-eyed and innocent; the charming way about her draws you in, and you are exalted by the depth of her love and beliefs; the same charm is equally (if not more so) devastating as this couple is torn apart and she meets her tragic end. Her beautiful voice threatens to blow the doors right off the place. Mark my words, these two young people are the Broadway stars of the very near future.

Kenita R. Miller as Mama Euralie

The other central couple of the piece sneaks up on you with their quiet grace and heartbreaking honesty.  As Ti Moune's adoptive parents, Broadway veterans Phillip Boykin (Porgy and Bess) and Kenita R. Miller (Xanadu) threaten to steal the show.  Their simultaneous subtlety and heart-on-their-sleeves emotions are a potent mix, and they make you feel every single emotion in their powerfully wrought performances. Their "A Part of Us" is a emotional, heartbreaking highlight.

Overseeing both the story and the space itself are the quartet of gods, rulers of earth, water, love and death, a double yin and yang, if you will.  And these four are simply astonishing.  As Asaka, goddess of the earth, Alex Newell, possessor of a glorious set of pipes and an astonishing presence, does as much with a wink and a smile as he does with the twirl of his tablecloth skirt (ingenious "recycled trash" costumes by Clint Ramos). At times larger than life (his "Mama Will Provide" is a showstopper of legendary proportions), Newell also, and more impressively, knows when nuance and grace are the smarter acting choice. The conscious gender-bending of this role fits the actor and show like a glove.  Similarly, the role of death demon Papa Ge has been assigned to a female, played with a scary urgency by the fierce whirlwind that is Tamyra Gray.  I think she was born to play this role, her modulation of tone and emotion is so expertly applied.  The confidence she exudes is matched with her command of the stage. Whenever she stalks the stage, your eyes go to her - most fitting for the specter of Death.  Her voice is never in question - she's an American Idol finalist, after all - but her acting is just as strong.

Norm Lewis (Agwe), Lea Salonga (Erzulie), Alex Newell (Asaka),
Hailey Kilgore (Ti Moune) and Tamyra Gray (Papa Ge)

Then there is the fatherly presence of veteran Norm Lewis as water god, Agwe. A captivating mix of warmth and playful power, Lewis sings the hell out of "Rain."  The role suits him perfectly, and one wishes he had even more to do. That said, he makes the most of every moment he has. Finally, there is the quiet elegance of the thoroughly captivating Lea Salonga. That is not to say she's any less fierce or compelling than her three cohorts.  No, pro that she is, she picks her moments carefully, and doesn't disappoint her fans.  When she sings "The Human Heart," there is no mistaking that you are in the presence of  a true Broadway legend.

The stunning whole of this production is a really emotional ride, one that I hope to take again, it is that good.  Once on this Island is definitely not enough. It's one of those total theater-going experiences that leaves you better for having seen it.

(Photos by J. Kyler and J. Marcus)

REVIEW: Come From Away

Review of the Saturday, February 24, 2018 evening performance at the Gerald Schoenfeld Theatre in New York City.  Book, music and lyrics by Irene Sankoff and David Hein. Scenic design by Beowulf Boritt. Lighting design by Howell Binkley. Costume design by Toni-Leslie James. Musical staging by Kelly Devine. Direction by Christopher Ashley. 1 hour, 40 minutes. Come From Away is performed without an intermission.

Grade: A+

I'd heard great things about Come From Away from friends, and I'd listened to the cast recording a few times, but nothing truly prepared me for just how wonderful this show really is.

Our day started with a matinee of The Band's Visit, an equally wonderful production with similar themes, characters and plot. Strangers arrive unexpectedly in a small town in the middle of nowhere and the lives of all involved are forever transformed.  Both shows also share vibrant scores, on point staging, and the ability to make time stand still and fly by.  I was not alone in being moved by both shows for the same reason: both highlight the instinctive ability for people to accept, love and help each other when the going gets tough. Would that there was more emphasis on these themes in real life - we'd all be the better for it.

"Welcome to the Rock!" The Come From Away Company

Truthfully, the fact-filled book and lyrics by Irene Sankoff and David Hein breaks one of my cardinal rules for theater: it tells rather than shows. There are thousands of facts and people to cover, so it makes sense to a point. Normally, that wouldn't work anyway.  But in this case it does, and here's why.

First, in between the facts, there is equally revealing dialogue. It's one thing for the town cop, the school teacher and the counter girl at Tim Horton's to tell us what their daily routines are, but completely another to show us how those routines are immediately disrupted. And these facts help shape a timeline that we, some 16 1/2 years later, remember like it was yesterday. Surprisingly, knowing that timeline helped create real dramatic tension as we found out how other people lived through it.  There is a scene where all of the planes were finally flying after days on the ground. Watching these people's joy and sorrow as life was returning to a new normal made me think of where I was the first time I heard the planes again. I am certain I was not alone having these kinds of memories as the show went on.

Kiss the cod! "Screech In"

Second, there is a truly amazing level of acting going on here, with the entire cast playing several distinct characters, sometimes more than one each in a single scene or number.  This company is the true definition of "ensemble," and another reason why the Tonys need a Best Ensemble award.  It almost feels wrong to single any of them out, as they were uniformly fantastic at showing us distinct characters with changes to voice, accent, a different jacket or hat (costumes designed by Toni-Leslie James), but also with little changes to their eyes and in their physical reactions.  Still, I was moved by the dread and strength of Hannah, whose son was a fireman at the Towers, and played with such dignity by Q. Smith.  And I found great humor and appreciation for Bob, a jaded New Yorker who expected the worst from people but only got the best, and came away a changed man, played to perfection by De'lon Grant.  The quirky restraint and fiery passion of Gander's mayor was played with crotchety delight by Joel Hatch, while the pragmatic but warm and selfless teacher Beulah was brought to life by the thoroughly amazing Astrid Van Wieren.

The two central couples gave us people to root for - and it is to the show's credit that the way they end up was both inevitable and surprising.  Chad Kimball and Caesar Samayoa played the "gay Kevins," with nary a stereotype in sight (save for a self-deprecating joke or two) which was a breath of fresh air all by itself.  And there was Nick and Diane, complete strangers thrown together and falling in love when they both realized they each filled a need neither knew they had; John Jellison (a great understudy) and Sharon Wheatley had adorable chemistry from start to finish.

"Me and the Sky" Jenn Colella and the Female Company

It was Jenn Colella's acclaimed performance that I was most looking forward to, and she did not disappoint.  What an actress - more than an actress - a force of nature!  Watching her go back and forth between her school teacher Annette and pilot Beverley Bass characters was remarkable in its attention to detail; both women were strong in completely different ways, and Ms. Colella brought every nuance to vivid life. She and the female company provided a highlight to the evening with the revelatory and passionate anthem "Me and the Sky."

Finally, while the words may have done a lot of "telling," the masterful staging created a lot of opportunities for "showing."  Kelly Devine's musical staging was like watching the intricate jewels click into place in an ever moving kaleidoscope.  It boggles my mind how the company memorized all of the minute changes of position, lighting (by Howell Binkley)and furniture (scenic design by Beowulf Borritt) to create before our very eyes - and within seconds! - everything from a pair of school buses, to a jumbo jet, to a school room taken over as a shelter. And that doesn't even include the actual dancing. (I could watch "Screech In" - with that fish - over and over!)  Now having seen the show, I can completely understand Christopher Ashley's Tony win for direction. He keeps a tight rein on the proceedings, knowing smartly when to let the energy and the emotional content ebb and flow. We go from sorrow and confusion ("I Am Here"/"Prayer" - a beautiful number) to fear, confusion and anger ("On the Edge") to thrilling abandon and a joyful release (the aforementioned "Screech In").

The Come From Away Band

I love when a musical engages you in unexpected ways. Come From Away surprised me on a personal level. It never occurred to me how cathartic it would be to laugh at that horrific day in history. To revisit that life-changing time and smile, clap, and shed a few tears in such a communal way was an experience I'll never forget.  Oh! And when you go, be sure to stay for the post-curtain call where the band takes center stage and gives a mini-concert.  They are fantastic!

The people of Gander are heroes as much as any first-responders, giving selflessly in what must have felt like an impossible situation. I wouldn't mind going to The Rock and kissing a fish. To come from away to meet these people would be a real honor.

(Photos by M. Murphy)