He Said/He Said REVIEW: 1776

As Mike and I are easing back into our normal levels theater-going, our goal for the 2022-2023 season is to see all of the musicals that open on Broadway - brand new or revival. So far, so good.

 

Since our site has been on hiatus, though, we didn't publish reviews of two shows that we saw: Into the Woods, and the subject of today's post, 1776. Well, for these two, we've decided to try a new review format, where each of us jot down our thoughts on various aspects of the production separately. As the title says, these reviews are a "He Said/He Said" situation! We hope you like it, and will let us know your thoughts on the format.

Review of the Sunday, September 25, 2022 matinee preview performance at The American Airlines Theatre in New York City. A Roundabout Theater Company production. Starring Crystal Lucas-Perry, Carolee Carmello, Elizabeth A. Davis, Eryn LeCroy, Liz Mikel, Patrena Murray and Sara Porkalob. Book by Peter Stone. Concept, music and lyrics by Sherman Edwards. Set design by Scott Pask. Costume design by Emilio Sosa. Lighting design by Jen Schriever. Sound design by Jonathan Deans. Projection design by David Bengali. Choreography by Jeffrey L. Page. Direction by Jeffrey L. Page and Diane Paulus. 2 hours, 45 minutes, including one intermission.

NOTE: This production continues through January 8, 2023. Kristolyn Lloyd has replaced Crystal Lucas-Perry as John Adams.

First me, then Mike!

Jeff Says...	1776
	Direction & Choreography
Direction: Jeffrey L. Page & Diane Paulus	On paper, their non-traditional casting must have seemed revolutionary, but in execution, it didn't make the impression they hoped for. Staging-wise, there were some interesting moments, but it was mostly what the script called for. Interesting that they didn't do the famous tableau from the famous painting. Diane Paulus has done more creative work, but this less-is-more approach was good for the piece.
Choreography: Jeffrey L. Page	Lots of table-ography created appropriate tension. The rest was fine, if unremarkable. That said, "Molasses to Rum" was breathtaking.
Overall Comment:	The non-traditional casting doesn't make the statement they seem to think it does, though unintentionally it makes a strong case for simply casting the right people in the right roles no matter their pronouns, gender or racial background.
	Technical Elements
Set: Scott Pask	The set was fine for what it was. It certainly didn't get in the way, but didn't really add much. I found the barrels to be a little heavy-handed, especially in the finale. It felt like it whittled down the cause to one issue.
Lights: Jennifer Schriever	Nothing special to see here - they did the job, nothing more.
Costumes: Emilio Sosa	The best technical aspect of the show, each one detailed. And the way they were used at the opening of the show was brilliant.
Sound: Jonathan Deans	Clear as a bell!
Projections: David Bengali	Generally, the projections really helped - the voting scenes were certainly heightened by them. The big montage bridging today and yesteryear was nice, but so typical of that kind of thing. Including some startling images might have made the point even more impactful.
Overall Comment:	All of the elements serve the piece well. Those barrels, though...
	Performances
Crystal Lucas-Perry (John Adams)	A terrific leading player, she was strong and really impactful. She really played up the irony of being right (mostly) and being thought of as a pain in the ass to everyone else.
Carolee Carmello (John Dickinson)	Her arrogance and self-importance should have been obnoxious. Instead it was intoxicating. Her portrayal made the conflict between Dickinson and Adams a real nail-biter.
Elizabeth A. Davis (Thomas Jefferson)	I have yet to see Ms. Davis be anything but spectacular. Her being visibly pregnant added quite a nice touch to the idea that Jefferson gave birth to a nation. Her quiet brooding provided a palpable undercurrent of tension. Is there a better Broadway violinist? Give this woman a leading role!
Liz Mikel (John Hancock)	Always a presence, she was perfectly cast as the nearly mythic John Hancock. A performance to match his giant signature!
Patrena Murray (Benjamin Franklin)	Grizzled and wise, with a biting sense of humor - just what I think Ben Franklin would have been. It's not her fault that her resemblence (physically and sonically) to Whoopi Goldberg was distracting.
Sara Porkalob (Edward Rutledge)	What a performance! Cruel and down right mean, it all made sense when they unleashed "Molasses to Rum" and left nothing but scorched earth in its wake.
Tiffani Barbour (Andrew McNair)	Interesting how an essentially bit part can have such impact.
Eryn Lecroy (Martha Jefferson)	I found her to be lovely, and with a fine voice. "He Plays the Violin" was a stand-out moment and excellent act closer.
The Ensemble	Each person made an impression and a meal out of a side dish. Perfect for a Congress. Too bad ours doesn't work as well together.
Breakout Performances	Sara Porkalob was a real stunner. I hope her frank, very public honesty, however refreshing that it was, doesn't make her a casting pariah.
Overall Comment:	The quality of the acting and singing here was way above-average. The cast would have been just as impactful if they all sat on stools and read from scripts.
Grade:	B-
	Overall Impression
	I am so glad to have finally seen a production of 1776! Though its attempt to "update" this classic was pretty much all for naught, the show was still occasionally thought-provoking and always a good time.

Mike Says...	1776
	Direction & Choreography
Direction: Jeffrey L. Page & Diane Paulus	I enjoyed most of their choices. I felt like I saw a version of a real show without too extreme an attempt to make it current. Just a few moments felt heavy-handed, like the very beginning and the video montage.
Choreography: Jeffrey L. Page	Mostly felt like "stage movement' rather than dancing, and it was fine. Nothing special!
Overall Comment:	I'm glad to have seen a professional performance of this show, which I've been hearing about forever but had never seen in any form. The concept - a more or less traditional physical presentation with nontraditional casting - was not distracting, but probably really only paid dividends in one or two scenes. And of course, it's not exactly an original concept for a Broadway musical. This isn't a top-tier Paulus revival by any means, but I'm very glad to have seen it.
	Technical Elements
Set: Scott Pask	Very simple, but did a good job filling up the large stage.
Lights: Jennifer Schriever	No complaints!
Costumes: Emilio Sosa	Though I said above that the initial concept was heavy-handed, I admire the cleverness of the costumes in making it possible. The period costumes looked good and were about what you'd expect.
Sound: Jonathan Deans	I didn't have any issues here!
Projections: David Bengali	These were a crucial part of the overall look of the show, and did a fine job establishing the occasional transitions between locations.
Overall Comment:	For most of the show, the overall look was what we've come to expect for a story from this period, meaning the designers did their job in executing the concept behind this production.
	Performances
Crystal Lucas-Perry (John Adams)	Lucas-Perry did an amazing job as the dramatic center of an epic show. Her role isn't quite as juicy as some others, but she definitely held her own and then some.
Carolee Carmello (John Dickinson)	Carmello did a good job making this character appropriately annoying without erasing his humanity. You understood why Dickinson made everyone hate him, and why he deserved a round of applause for his principled stance.
Elizabeth A. Davis (Thomas Jefferson)	The violin-toting Davis strikes again. Her quiet, almost resigned demeanor embodied Jeffereson's intelligence and his struggle to remain patient with others' lack thereof. In retrospect, probably my favorite performance from the show.
Liz Mikel (John Hancock)	Mikel was literally in the background for most of the show, but her appealing performance was appropriate for this role.
Patrena Murray (Benjamin Franklin)	Probably the least convincing of the principal performers for me; just a bit too Whoopi-ish for my taste.
Sara Porkalob (Edward Rutledge)	Porkalob did a fine job throughout, and really shone in the show's heaviest scene (and the one that really justified this revival's concept).
Tiffani Barbour (Andrew McNair)	One of those performers who didn't have that much to do but managed to draw your attention anyhow!
Eryn Lecroy (Martha Jefferson)	I've heard that some didn't like Lecroy's particularly vivid take on her big song, but it just seemed to fit with the relationship between Martha and Thomas, as portrayed in this production.
The Ensemble	I think they were convincing as a body struggling to overcome its divisions.
Breakout Performances	Not exactly a breakout, but I would hope this would lead to some more big roles for Elizabeth A. Davis.
Overall Comment:	Even if this production didn't hit all of its marks, it's hard to fault the casting.
Grade:	B-
	Overall Impression
	Most elements of this production were fine but not stunning. For me, the cast drags it just above C-level.

REVIEW: Some Like It Hot

Review of the Saturday evening November 12, 2022 preview performance at the Sam S. Shubert Theatre in New York City. Starring Christian Borle, J. Harrison Ghee and Adrianna Hicks, with Kevin Del Aguila, Adam Heller, Mark Lotito and NaTasha Yvette Williams. Book by Matthew Lopez and Amber Ruffin. Music by Marc Shaiman. Lyrics by Scott Wittman and Marc Shaiman. Based on the screenplay by Billy Wilder and I.A.L. Diamond. Scenic design by Scott Pask. Costume design by Gregg Barnes. Lighting design by Natasha Katz. Sound design by Brian Ronan. Choreography and direction by Casey Nicholaw. 2 hours, 30 minutes, including one intermission.

Grade: B

Traditional musical comedy fans can rejoice - Some Like It Hot is old school in all the right ways. Its big, splashy dance numbers, spectacular costumes, jaw-dropping sets and a genuinely funny book should keep the Shubert Theatre occupied for quite awhile. This latest in the parade of film-to-musical shows certainly gives you your money's worth. And it is just modern enough in its thinking to keep those keeping track of such things reasonably happy. 

The book by Mathew Lopez and Amber Ruffin is pretty tight, chock full of clever quips, zingers and a big dollop of heart. They also address the elephant in the room with sensitivity and intelligence. That age-old trope of men in dresses is here, of course, but with a comfortable (if still imperfect) handling. Yes, the conceit still goes for laughs, but evolves here as the men each make different self-discoveries while in disguise. Born of desperation and self-preservation, the two men don dresses in order to evade gangsters, and in the process get some education. Joe (Christian Borle) as Josephine learns empathy and a better understanding of how women navigate a largely misogynistic America, falling in love along the way. Meanwhile, Jerry (J. Harrison Ghee), in the guise of Daphne, goes on a journey of self-discovery, self-love, and self-acceptance. In short, Hot gives it to us both ways, and leaves us with a lovely happy ending.

We caught the show very early in previews, so perhaps the biggest detriment to the piece has been resolved: it dragged in a few places and felt about 20 minutes too long. As I said, it really isn't the trim book that is the issue. Instead, and it surprises me to even say it, there is simply too much music. Composers Marc Shaiman and Scott Wittman, two of the best in the biz, have brought their A game here, with a jazzy score ranging from clever production numbers to smoldering torch songs. The surprise here is that by the end of the evening, they all blend together to a point that one is conscious of the repetition of themes and styles. What is good here is really great - I'll buy the cast recording just to have the title song at my fingertips, as well as Sugar's introductory number, "A Darker Shade of Blue," and Daphne's epiphany, "You Coulda Knocked Me Over with a Feather." But by and large, the rest of the score is a blur of diminishing returns.

Adding to the length of the proceedings is the abundance of big dance numbers. Of course, what would an old-fashioned show like this be without dancing? But does every number have to last so long? Casey Nicholaw is a fabulous choreographer. No one around today does tap on Broadway like him. That said, if he even trimmed just two minutes off each number, the whole thing would be so much better; instead, the sheer quantity of it starts to feel repetitive. Or maybe if a couple of the several "club numbers" were simply cut...

Despite everything I just said, Some Like It Hot is a stunner in many ways. Nicholaw's staging deftly navigates an array of scene changes and styles from an astonishing door-slamming farce number to quiet, dramatic bits that ground the show and give it its heart. He creates truly lovely stage pictures at every turn, and his synchronicity with the design team makes for a seamless package. Throughout, Scott Pask's elaborate sets garnered gasps and well-deserved applause all by themselves. (I wonder where they put it all backstage!) Similarly, Gregg Barnes' dazzling array of costumes - including a shocking quantity of fancy footwear - are a feast for the eyes, and the always terrific lighting by Natasha Katz adds mood and glamour to the whole affair.

The first rate cast excels - including a large ensemble of superb, tireless dancers - with most given opportunities for bits that give them a deserved moment to shine. The all-girl traveling band is fabulous and always character-driven (even if they aren't actually playing their instruments), and several of our Broadway favorites - including Angie Schworer, Casey Garvin, K.J. Hippensteel and Gaby Campo - bring their signature zest and sex appeal. Adam Heller and Mark Lotito, Broadway vets both, make a meal out of the stock characters of grizzled detective and gangster boss, respectively.

NaTasha Yvette Williams, scene-stealer extraordinaire, practically blows the roof off the place with her jazzy growl of a voice! Her seen-it-all-but-still-sassy band leader role fits her like a glove, and takes everything up a notch just by being on stage. Perhaps my favorite supporting character performance of the season so far is Kevin Del Aguila. He's come a long way from Frozen, and what a pleasure to see him really get a chance to take off in a quirky and hilarious role. You can tell that he loves every minute of it, and we love him for it. His character's chemistry with Daphne is palpable and wholly satisfying.

Of the trio of leads, Christian Borle feels the weakest. I'm a big fan of his, so it pains me to say that as good as he is, he seems the least comfortable on stage, in or out of a dress. Perhaps he needs to be in the part a bit longer. There was a certain stiffness and preciseness to his performance: he hit every mark, landed every joke, and danced each step perfectly, yet it felt rote and too accurate. None of this detracted from the proceedings really, but it sure is noticeable when he's up against two powerhouses like his co-stars. Adrianna Hicks (below) will surely have a lengthy career as leading lady if she so chooses. Straight off her spectacular turn as a Six queen, Ms. Hicks is even more spectacular as chanteuse Sugar, radiating with star power with every entrance, note and word. She, quite simply, can do it all. Brava!

But the biggest and best asset of the whole production is the dazzling J. Harrison Ghee who can make the most hardened soul in the house melt like butter with one gaze, one turn of the heel, one megawatt smile. They single-handedly put the kibosh on that tired and troublesome guy in a gown thing. Watching their Jerry transform into Daphne is a marvel that will bring a smile and a tear of joy. Their mastery of song and dance feels like a given as effortless as they are, but the heart and compassion they clearly feel for the role is the true marvel.

How you feel about how the problematic trope is handled is up to you of course. But I suggest you see Some Like It Hot before you simply write it off.

📸: M. Franklin

He Said/He Said REVIEW: Into the Woods

As Mike and I are easing back into our normal levels theater-going, our goal for the 2022-2023 season is to see all of the musicals that open on Broadway - brand new or revival. So far, so good. 

Since our site has been on hiatus, though, we didn't publish reviews of two shows that we saw: 1776 and the subject of today's post, Into the Woods. Well, for these two, we've decided to try a new review format, where each of us jot down our thoughts on various aspects of the production separately. As the title says, these reviews are a "He Said/He Said" situation! We hope you like it, and will let us know your thoughts on the format.

Review of the Saturday, July 30, 2022 matinee performance at the St. James Theatre in New York City. Starring Sara Bareilles, Brian D'Arcy James, Patina Miller, Phillipa Soo, Cheyenne Jackson, Joshua Henry, Julia Lester and Cole Thompson. Book by James Lapine. Music and lyrics by Stephen Sondheim. Set design by David Rockwell. Lighting design by Tyler Micoleau. Costume design by Andrea Hood. Sound design by Scott Lehrer and Alex Neumann. Choreography by Lorin Lotarro. Direction by Lear deBessonet. 2 hours, 30 minutes, including one intermission.

NOTE: This production continues through January 8, 2023, with a mostly different cast.

Mike first, then me!

Mike Says...	Into the Woods
	Direction & Choreography
Direction: Lear deBessonet	She did an amazing job within the confines of a staged concert performance. There were many very clever choices in terms of puppetry and creative staging.
Choreography: Lorin Latarro	Minimal, but I can't imagine anyone came to see this show for the dancing!
Overall Comment:	I wasn't looking for anything too fancy from an Encores transfer, but this was staged effectively.
	Technical Elements
Set: David Rockwell	Not much to see here, just enough to set the scene. A few extra trees might have been nice, but we can't expect too much when the orchestra takes up half of the stage!
Lights: Tyler Micoleau	Nothing flashy (literally or figuratively), but got the job done.
Costumes: Andrea Hood	Like most other elements, costumes were effective and understated.
Sound: Scott Lehrer and Alex Neumann	I would say that the sound was unusually clear, if a bit subdued compared to most other current musicals.
Overall Comment:	Technical elements were never going to be a big draw for this show, but the team gave us some nice things to look at.
	Performances
Sara Bareilles	The heart and soul of this production, I agree with others that she set a new standard for this role. Can't wait to see her on the stage again soon!
Brian d'Arcy James	His singing was stronger than that of most actors who've played this role. One of my favorite songs, "No More," can sometimes seem deliberately subdued, but he was allowed to go all-out.
Patina Miller	A fine performance, if less flashy than some of her formidable predecessors. The show seemed to clearly belong to the baker and his wife, rather than the witch, which is probably the way it should be.
Phillipa Soo	An inspired choice for a role that requires the perfect mix of innocence and ambition.
Cheyenne Jackson	Always a treat to see him in a musical! The outsized hilarity of the role is obviously a good fit for his talents.
Joshua Henry	He never disappoints - hope to see him in a bigger role soon. The princes' songs have generally been my least favorite parts of the show, but the combination of these two performers really elevated those scenes.
Julia Lester	She hit it out the park with her particularly self-aware take on this juicy role.
Cole Thompson	He definitely stood out like no other Jack has before! A very promising start to what I hope will be a long Broadway career.
The Ensemble	Wonderful, of course. Among those who haven't been mentioned, Annie Golden stood out in a couple of background roles.
Breakout Performances	Lester, Thompson, and Kennedy Kanagawa.
Overall Comment:	The cast is basically the raison d'etre of this production. I had heard so many wonderful things about them, and they exceeded my expectations.
Grade	A
	Overall Impression
	This production stood out for giving us a classic show, in its original form, performed by first-rate singers and musicians - basically, Encores' stock in trade. There have certainly been other productions with more impressive sets and evocative concepts, but that would be at odds with the purpose of this production.

Jeff Says...	Into the Woods
	Direction & Choreography
Direction: Lear deBessonet	There is plenty of darkness in these woods, as there should be. These Woods are, however, also the funniest of any version I've ever seen. Being able to laugh at the all too human foibles embodied by these characters feels so good these days. deBessonet embraces this in all the right ways without ever pushing for more than necessary, and all without relying on over the top "big Broadway" tricks or extravagances.
Choreography: Lorin Latarro	Into the Woods has never been a dance-y show, but Ms. Latarro has picked fun places for a bit of footwork, all in the service of the production, and more importantly, the text itself.
Overall Comment:	Given the confines of its original venue and circumstance, the production is bare bones by necessity, and the directorial/choreographic choices are limited spacially. But by focusing on tone and character specificity, both deBessonet and Lotarro bring out the richness of this well-known piece in unexpected and delightful ways.
	Technical Elements
Set: David Rockwell	With a full orchestra necessarily a part of the staging, Rockwell still allows for a variety of playing spaces, and, of course, trees. And the mini tableaux at the top of each act are delightful scene-setters!
Lights: Tyler Micoleau	They didn't interfere or make things difficult to see - not much of an impression, which is not a bad thing.
Costumes: Andrea Hood	I immediately thought of a box of 8 Crayola crayons, with each character assigned a color. Ms. Hood then adds layers and textures depending on the depth of the character. Is it any wonder that the vacuous princes were a single, flat color, while the not yet mature Little Red starts out almost entirely in red, but ends up with more detailed, sophisticated red variations as her life becomes more complicated. Wordlessly conveying character growth is my favorite design concept!
Sound: Scott Lehrer and Alex Neumann	Good sound design happens when you aren't aware of it. I wasn't aware of it once, so clear and perfectly balanced it was.
Overall Comment:	All of the creatives have clearly worked together, creating a fairy tale world, clear, focused, and just inviting enough to allow our imagination to take over and fill in the blanks for ourselves.
	Performances
Sara Bareilles	THE highlight of this revival! What a talent! I knew she could sing it, but there was some damn fine acting there. I'd go so far as to say some of her choices felt definitive. More Sara on Broadway, please.
Brian d'Arcy James	Easily the best singer I've seen in the role. His earnestness and vulnerability wamed my heart. And he matched Ms. Bareilles perfectly.
Patina Miller	She was fine in the role, especially in act two, where she brought a dark gravitas to the production. In no way is this a slight to Ms. Miller (I am a HUGE fan!), but by giving a quieter, more measured performance allowed for the Baker and his Wife to become the main focus - as I think it should be.
Phillipa Soo	The great thing about casting Soo in this role was how effortlessly she conveyed strength and growth, while perfectly conveying innocence and confusion. She sang the role with ease.
Cheyenne Jackson	Funny and sexy made Cheyenne the exact right choice for both the Wolf and Cinderella's Prince. Cocksure and slightly vacant is right in he wheelhouse, and he clearly had a grand time.
Joshua Henry	I don't think Mr. Henry can do anything wrong. I have yet to see him be less than amazing, including here, where he made this snack of a role feel like a full-course meal.
Julia Lester	Blissfully self-aware and all-in on her growing sexual feelings, Miss Lester's Little Red was a hilarious revelation.
Cole Thompson	At last a Jack that isn't just a dumb kid. Mr. Thompson's take on the giant killer is more complicated and nuanced than others I've seen. And, holy cow, what a singer!
The Ensemble	Each had a moment to shine, and none got in the way. Aymee Garcia and Annie Golden were delightful as Jack's mother and the Giant, respectively.
Breakout Performances	Kennedy Kanagawa as Milky White was a mesmerizing delight - a truly astonishing performance. Julia Lester needs to come back to Broadway ASAP, and Cole Thompson is going to be a huge star. Mark my words, all three are going places!
Overall Comment:	With Encores productions, the purpose is two-fold: to hear a classic as originally written and scored, and to see great acting bring it to life. Into the Woods does just that. The orchestra, sublime; the cast, flawless.
Grade:	A
	Overall Impression
	Broadway is all the better for this bare bones, perfect-as-it-was Encores staging. No one involved in the transfer made the mistake of pumping it up for the Main Stem. Like Chicago before it, Into the Woods is a perfect jewel, polished to its brightest potential. What a shame it won't be around longer.

📸: M. Murphy

Looking Forward to Winter: December - February

The end of another calendar year is near, which also means we are close to half-way through the theatrical season. And while things generally slow during the winter months, we have a lot we are looking forward to show-wise. Thankfully, we are nearing pre-pandemic levels of theater-going - cautiously optimistic, really.

As we always do, before we look ahead, let's look back at what we did over the autumn months. Between September and November, we were fortunate enough to see five new Broadway productions: Kimberly Akimbo (A+), KPOP (D), Almost Famous (A+), and 1776 and Some Like It Hot. (The latter two will have reviews posted in the coming weeks.) And now, on to our list of upcoming shows that we are excited to see!

LOOKING FORWARD TO WINTER:

December 2022 - February 2023

HOLDOVERS FROM FALL:

Leopoldstadt (Broadway - Longacre Theatre): A new play by Tom Stoppard is always reason to be excited, but he claims this will be his last, and it is critically-acclaimed here and in London. Then there's the spectacular cast... so much to be excited about with this production.

& Juliet (Broadway - Sondheim Theatre): Despite this being yet another jukebox musical, there's not a clinker on the song list, and what's not to love about a progressive/feminist take on a Shakespearean classic? It looks spectacular, and any show that brings Paulo Szot, Betsy Wolfe and Stark Sands back to the Main Stem is worth getting excited about! Then there's some really buzzy debuts to cheer on, too.

NEW SHOWS OPENING THIS WINTER:

A Beautiful Noise (Broadway - Broadhurst Theatre): We like Neil Diamond. And we really like Will Swensen and Robyn Hurder. Love me some "(They're Coming to) America" and "Crunchy Granola Suite." Because I respect their work, I'm optimistic that Michael Mayer and Steven Hoggett will elevate this latest Broadway bio-musical. (And I really hope I'm so bowled over by it that I won't want to stab my eardrums as "Sweet Caroline" invades my brain...)

Sunset Boulevard (Kennedy Center - Eisenhower Theatre): Here's a great opportunity to see one of my favorite musicals, played by a great orchestra, and performed by actors I love - Stephanie J. Block donning the crazy turban, opera star Nathan Gunn running the manse, Auli'l Cravalho going full ingenue, and handsome Derek Klena in a grown adult role! It is going to be awesome!

RETURN VISIT TO A FAVORITE PLAY:

Harry Potter and the Cursed Child (Broadway - Lyric Theatre): The current one-play version is superior to the the two-parter, with awesome theatrical magic that makes me feel like a kid again. We really appreciate the adjustments made to the central relationship between Albus Potter and Scorpius Malfoy - and when we see it in January, there will be new actors to discover in those roles!

We have a couple of other shows we might report on - like Six on Norwegian Cruise Line's Breakaway. 

The spring looks to be even busier! Live theater is exciting again - thank goodness!