CD REVIEW: Bonnie and Clyde

I have found over the years that I either love the music of Frank Wildhorn or I hate it.  There seems to be no in between.  I love The Scarlet Pimpernel and The Civil War.  I do not like Dracula or Wonderland, and I really think the best parts of Jekyll and Hyde were left behind on the concept recording.  I know I am not alone in recognizing how polarizing his scores can be (and let's face it, the productions of his shows and his choice in lyricists probably have a lot to do with it).  Still, I can, in clear conscience, say that I go to each of his shows with an open mind.  After all, just months after being mentally traumatized by Wonderland, I went into his next show with high hopes.  And I was not disappointed, nor were most of us in the blogosphere, who were singing the praises of Bonnie and Clyde from the first preview.  Even naysayers found the score to be quite good.  History tells us now that the critics just can't cut Wildhorn a break.  Imagine how they'd have been had he done more than provide the tunes!  Cut to a few days after the show closed.  The cast assembles to record the Original Broadway Cast Recording of Bonnie and Clyde, to be distributed by a new label, Broadway Records.  That recording is the subject of today's review.

Grade: A+

Title: Bonnie and Clyde
Artist: Original Broadway Cast Recording
Label: Broadway Records
Number: BR-CD00112
Format: Single CD
Case: Single Jewel Case.
Booklet: Full color production photos and sepia toned historic photos of Bonnie and Clyde; complete synopsis by Ivan Menchell, full lyrics; liner notes by Frank Wildhorn, Don Black, John McDaniel and Corey Brunish.

 THE TOP 5 REASONS YOU NEED TO ADD THIS RECORDING TO YOUR COLLECTION:

5.  To support the quality recording of ALL Broadway scores. 


If all of the future recordings produced by new label Broadway Records are this good, they need our support.  First and foremost, fans of Broadway need to get behind any effort to preserve these pieces of history, regardless of whether or not the show itself is a hit.  Like it or not, the works of Frank Wildhorn and his various collaborators represent an important voice in American musical theatre in the late 20th and early 21st century.  Flop or hit, the man continues to challenge himself and Broadway with show after show.  Only time will tell exactly where in the pantheon of composers he will end up.  The recording of all of his scores - as well as dozens of past and future writers - is vital in keeping the memory of his shows alive.  And I am pretty certain that Bonnie and Clyde in particular will prove to have legs far beyond its sadly short run in New York. 

4.  The superb quality of the booklet.


This CD comes with an impressive 30 page, full-color booklet that really preserves so much more than just the lyrics of the show (design and layout by Van Dean).  From the sensual show logo on the cover to the touching close up of Bonnie and Clyde's final moments on the back, the entire booklet is top quality.  Included are the complete lyrics and messages from the composer (Frank Wildhorn), lyricist (Don Black), musical director (John McDaniel) and one of the producers (Corey Brunish), as well as a thoughtful synopsis by the book writer, Ivan Menchell.  Fans of the show (and those who unfortunately missed it) will be thrilled by the dozens of color production photos by Nathan Johnson and additional photos by Aaron Rhyne, including several never published before.  History buffs will also appreciate the historic photos of the real Bonnie Parker and Clyde Barrow, as well as a full reprint of Ms. Parker's 1934 poem, "The Trail's End: The Story of Bonnie and Clyde."  As there was not a souvenir program created for the Broadway run, this CD booklet becomes a de facto keepsake.

3.  The preservation of the fully orchestrated score, plus a bonus track.


John McDaniel's orchestrations played by the 10 member band of musicians sounds like double that number, so lush is the quality of the recording.  Despite the small number of players, they play a full array of instruments from acoustic and electric guitar to piano and just one synthesizer, and a violin and several woodwind instruments, a lot of musical ground is covered here.  The attention to time period detail and accuracy of the early 20th Century Texas/American sound and style is evident from the inclusion of such unique instruments as a mandolin and dobro, as well as specific uses of the clarinet and fiddle to instantly evoke music of a bygone era.  Whether the accompaniment calls for a simple tack-piano, or a  full on rockabilly jam, the entire recording is notable for the even and superb sound quality of the musicians.  There is also a bonus track: "This Never Happened Before," a song cut on the show's journey to Broadway.  A lovely ballad on its own, it is sung in duet by Jeremy Jordan and Laura Osnes, and accompanied only by the piano, played by the composer himself, Frank Wildhorn.

2.  The wonderfully even score with so many terrific stand out numbers.


I loved the show when I saw it, and I was completely taken by the score at the time.  Of course, over time, the memory fades, especially when you can't see the show when it isn't there, and all that is left are some snippets of promo versions on YouTube and the show's website.  But even after one listens to this cast recording, the memories came flooding back like I had just seen the show yesterday.  And subsequent listening has afforded me the opportunity to realize just how well most of the score is put together.  I love that the same tones and rhythms are used for certain characters over and over.  Wildhorn's use of motifs is alternately obvious and subliminal.  I love the slow country twang of the numbers sung by Blanche, the heart racing rockabilly of Clyde's solos, the slow, sensual blues sound used for Bonnie's solo numbers, the fast-paced barn-stompers for the "exciting" moments and their lives together, and the syncopated slow waltz that accompanies their love songs.  I love how even within those styles, the character motifs insinuate themselves into each song.

For me, there are a number of standout songs.  I love Louis Hobson's plea for Bonnie's affections in "You Can Do Better Than Him" as well as the cocky bravado of Clyde, who joins Hobson's Ted in the final verses of the song.  The irony and hypocrisy of "God's Arms Are Always Open" come shining through with Michael Lanning's intense Holy-roller preacher at the lead and the company providing a desperately feverish back up of religious fervor.  That same anger and irony comes blasting through on the rock-tinged "Made in America," also sung by Lanning and company.  The younger versions of Bonnie (Kelsey Fowler) and Clyde (Talon Ackerman) provide an interesting context in "Picture Show," a song about the all-American need for fame and a legacy of celebrity. The comic relief of "You're Goin' Back to Jail" is vivid and welcome as performed by Blanche, Buck and the ladies at the beauty parlor.  And the sorrowful resignation of "Dyin' Ain't So Bad" brings a tear to the eye just by listening to it.


1.  The fantastic performances by the leads and principal supporting cast.

While the majority of the score is sung by the title players, the other two members of "The Barrow Gang" get their chance to shine here, too.  As Buck, the dim, if well-intentioned brother of Clyde, Claybourne Elder played the lost and dutiful poor soul to perfection.  That same loyalty to his brother Clyde comes through on the recording in the exhilarating duet "When I Drive."  And the lovely and dynamic performance of Melissa van der Schyff as Blanche, Buck's long-suffering, religious wife is well-represented here with  "You're Going Back to Jail," a comedic number, the touching "That's What You Call a Dream," and in beautiful duet "You Love Who You Love."  Let me state again that her performance was Tony-worthy.  I hope she is not forgotten.

What more can I say about the two leads of the show, Laura Osnes and Jeremy Jordan, than they are both utter perfection?  The best news is that their thrilling, dangerous performances come shining through on this recording. Separately, they shine, showing some serious acting chops along with dramatic singing voices.  Mr. Jordan's metamorphosis from small time crook to blood thirsty murderer is crystal clear and brilliantly rendered in "Raise a Little Hell," a song which is essentially an epic soliloquy of near Shakespearean proportions.  What an amazing acting and singing performance!  And in what I think is the show's best number, and one of the best songs of the entire season, Ms. Osnes' sexually charged, sensual performance of "How 'Bout a Dance?" is surely the highlight of the disc.  Alternately brave, sad, lonely and self-assured, the song allows the actress to show us a complicated woman that we care about, no matter what her later crimes are.  Of course, given the complexity of the chemistry between Bonnie and Clyde, it speaks volumes for both the actors and the score, that it is when they are together that listeners will feel the most emotional impact.  In the opening numbers "Picture Show" and "This World Will Remember Us," their characters' greed and lust for fame wrapped up in an all-American Texas twang is apparent, even without a visual.  The rousing "The World Will Remember Us" ends the first act and the pair tear through the number with a frightening sense of purpose and menacing glee. The entire show comes down to the penultimate moment when the pair reflects on their lives together and realize that their fate is sealed.  The stunning "Dyin' Ain't So Bad" is a quiet, emotional ballad, surprising in that you find yourself not only caring about two mass murdering bandits, but even hoping that somehow they will live to see another day.

That all of this comes through on a cast recording says a lot for the score and for the actors performing it.  What a shame that the critics couldn't see or hear that when they reviewed the show.  The release of this recording reminds me that Bonnie and Clyde really was one of the best shows of the season.  Boy, am I glad this got such excellent treatment.

Read my review of the entire show HERE.

(CD Cover from The Broadway Records release of Bonnie and Clyde; production photos by Nathan Johnson; photo of Frank Wildhorn and historic photos from Getty Images)

Full disclosure statement:  I received a complimentary copy of this cast recording from Broadway Records, who approached me, with the objective of writing a review of the recording.  It was very clear, for both myself and the production company, at all times, that I was under no obligation to write a positive review.  The above opinions are mine alone.


Jeff

3.238

@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email); Comment below (Blogger)

REVIEW: Nice Work If You Can Get It

Review of the Saturday, April 7th matinee preview at the Imperial Theatre in New York City.  Starring Matthew Broderick, Kelli O'Hara, Jennifer Laura Thompson, Judy Kaye, Michael McGrath and Estelle Parsons.  Music and Lyrics by George and Ira Gershwin.  Book by Joe DePietro.  Choreography and Direction by Kathleen Marshall.  2 hours, 20 minutes including intermission.


Grade: C-


I saw a somewhat early preview of the "new" musical Nice Work If You Can Get It, and, unless the creative team was willing at that point to cut some characters altogether and revamp every single dance number, I'm pretty sure what I saw is pretty much what opened last night at the Imperial Theatre.  A fan, generally, of old fashioned "new" musicals - I've seen the gold standard of the type, Me and My Girl eight times and another "new" Gershwin musical, Crazy for You, at least five times - I went into the show with great expectations.  I should have known better, what with the Queen of Half-Assery, Kathleen Marshall, at the helm.  Just like her inexplicably popular hit Anything Goes, the cast and only some of the material here elevates otherwise pedestrian blocking and dance numbers that are shockingly repetitive and never, not once, take off.

The problem with all of this bland, middle-of-the-road-ness is that the genre being depicted here - the screwball comedy from the 30's that celebrates the 20's - demands all out reckless abandon and non-stop giddy fun, just short of over the top.  That means silly, groan-while-you-laugh barrages of jokes, impossible situations, farce, physical comedy, huge numbers full of dashing gents and beautiful chorines and just a dash of boy-meets-girl-you-know-they'll-get-together-no-matter-how-improbable romance.  Occasionally, Nice Work has all of those things.  But it is too long between laughs, and the farce, physical comedy and dancing never quite get to the heights they need to.  It isn't for a lack of trying.

The Cast of Nice Work If You Can Get It

Joe DePietro's book, based on a previous musical, Oh, Kay!, has all of the elements required - the main characters are on both sides of a spectrum (in this case legal and economic), several subplots that inevitably match up pairs of even more people from both sides of that spectrum, a loose connection to show biz (giving an excuse to dance), a funny take on politics of the time (in this case, prohibition and the typical punching bag, Republican conservatives) and a fantasy sequence.  It is all there, and to his credit, DePietro has created a pretty smooth sequence of events that never feels like things are crammed in.  But the book also never rises to anything that even approaches a frenzy of excitement and good times.  And half the fun of these throw back trunk musicals is those "ah-ha" laughs when a familiar tune is cleverly inserted into the proceedings - think about the first time you saw Mamma Mia! or even Jersey Boys.  Despite some really decent songs culled from the Gershwin songbook that seem ripe for just that sort of thing, those "ah-ha" moments never come, not once.  Sixteen opportunities missed.

Technically, the show looks cheap and dull (and even ugly).  I know times are tough, but this should be an extravaganza of 42nd Street proportions.  Derek McLane's set, made up of a garish curly cue proscenium frame, and a "mansion" of rooms in ugly shades of pink, green and magenta.  Throw in a few backdrops and one can imagine how future high school productions will look.  The lighting by Peter Kaczorowski is serviceable, but nothing special.  On the plus side, Brian Ronan's sound design is crystal clear and very well-balanced.

One thing you can't quibble with is the quality of the Gershwin songs, they are classics.  And they are a delight to the ears as orchestrated by Bill Elliott and played by an 18 piece orchestra.  Still, you can quibble with how they are utilized, and quite frankly, they are mostly a disappointment, and point up the main problem the entire show: the direction and choreography of Kathleen Marshall.

"Sweet and Lowdown"

The cast is saddled with bland blocking, forced, stereotypical comedy, and dance steps that are completely uninspired approximations of Jazz Age.  Worse yet, they are repetitive and even rip off Marshall's own previous work.  As she has no definitive style (in that when you see one of her numbers you say, "Oh! That's a Marshall move!" way like you can with Fosse, Tune or Stroman), that she is now recycling her own material makes it all the more bland.  Take the opening number, "Sweet and Lowdown."  It is a small, insinuating number at a speakeasy, not a huge, let's-get-the-ball-rolling crowd-pleaser.  And despite the fact that the entire chorus, plus the leading man and a subplot character is in it, the notion that 14 people sometimes doesn't look like much hits you hard and diminishes what little impact the number might have had.  And, if you've seen Anything Goes, you'll have that odd sense of deja vu.  It looks and moves like a lackluster "Blow, Gabriel, Blow," right down to similar costumes provided in both cases by Martin Pakledinaz (in fact, all of his costumes in this show appear to be recycled from the other show, only cheaper.  Much cheaper.)  Act two opens with an instrumental, "Lady Be Good" to which the dozen chorus members go through a series of moves evocative of the era of The Great Gatsby.  Charleston moves and some foxtrot formations go on in repeat, over and over.  Even as I write this it sounds maybe exciting.  But it isn't.  The repetition is just that, and it simply does not build into anything even remotely interesting.  The day I saw the show, it got a polite hand and the dancers weren't even panting.  Two chances to start an act with something to get the audience hooked, two more opportunities missed. (The same can be said for the dull act ending numbers, too.)

The Ensemble

The rest of the staging is as you'd expect, an approximation of a Fred and Ginger number, including dancing on a staircase; an innocent romp around a bedroom, walking on the bed, tripping over chairs; a two-door farce scene involving a fast-paced service of a full-course meal.  Typical and not even close to inspired.  There are exactly two times in the whole show where I thought, "Hey, that's creative!"  One is an unexpected comic bit with a gun during the ballad "Someone Who'll Watch Over Me," and the other during "Delishious," involving a bubble bath full of more than bubbles.

Matthew Broderick and Kelli O'Hara

The biggest asset the show has is its cast, all of whom give everything they have to get things going.  Both leads seem to know what they are up against and gamely give it their best.  Matthew Broderick does his best to balance his trademark "aw shucks-self-aware-nerd" shtick with the riggers of being a leading song and dance man.  He actually sings and dances pretty well.  One imagines that later in the run, when he really knows the show and loosens up, he'll be even better.  And he does have a funny sort of chemistry with Kelli O'Hara.  Her mere presence elevates every scene she's in, and her old-school vocal stylings are perfectly suited to the score.  She's especially charming in the more serious, romantic scenes.  But she also looks awkward in the scenes where she must be convincing as a bootlegger on the lamb.  She plays it straight, refusing to acknowledge the obvious: she's not much of a comedienne and couldn't be butch if her life depended on it.  As great as she is, O'Hara is not an edgy ingenue.  Ingenue, yes.  Edgy, no way.

Judy Kaye and Michael McGrath

Jennifer Laura Thompson and Company
"Delishious"

There is better news on the supporting roles front, with four actors really standing out and giving the show what little oomph it has.  Michael McGrath is a riot as a bootlegger disguised as a butler.  His timing is impeccable, and he has a way with even the dumbest jokes.  Tony winner Judy Kaye completely steals every scene she's in.  She has been given some of the choicest bits to play as the stiff as a board Prohibitionist (her name, Duchess Estonia Dulworth, says it all), and Kaye gamely goes for it all with gusto, be it singing on a moving ladder or swinging drunk from a chandelier.  Estelle Parsons does what she can, screeching her way through the final scenes of act two.  She is loud, brash and quite funny.  Though I have to wonder if it is the script or the actress that calls for a mother to call her son Jimmy by the name "Jamie."  Either way, it isn't funny.  But my favorite actress in the show is Jennifer Laura Thompson, who is a scream as the soon-to-be fourth wife of Broderick's character.  She also gets the best scene in the show, "Delishious," where she sings while taking a bath.  Watching her try not to react to the chorus girls and boys that spring out of the bubbles shows us in one scene everything this show could have been.  It is the only time the show is even close to "big" or creative.

Chris Sullivan and Robyn Hurder

This dull show feels every bit of its two and a half hour running time.  One thing that could have been excised easily are two sub-sub characters, a second bootlegger and a chanteuse who serve only to add more clunky jokes and some uninspired running gags.  No offense to Chris Sullivan, who does the part well enough, but is totally unnecessary.  On the other hand, Robyn Hurder as that chanteuse would be an even easier cut.  She has zero stage presence, looks uncomfortable 100% of the time, and, to be totally honest has no business singing in a Broadway show.

I really hope that someday I'll see a Kathleen Marshall show that makes me understand why she is a critical darling.  I have left every show of hers feeling exactly the same way: the show is decent, but never better than mediocre.  How I wish I could say, "Nice work on N ice Work, Kathleen!"  But I just can't.

(Photos by Joan Marcus)

Jeff

3.237

@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email); Comment below (Blogger)

REVIEW: Ghost: The Musical

Review of the Saturday, April 14th evening preview performance at the Lunt-Fontanne Theatre in New York City.  Starring Caissie Levy, Richard Fleeshman, Bryce Pinkham and Da'Vine Joy Randolph.  Book by Bruce Joel Rubin, based upon his screenplay.  Music by Dave Stewart and Glen Ballard.  Lyrics by Bruce Joel Rubin, Dave Stewart and Glen Ballard. Illusions by Paul Kieve.  Choreography by Ashley Wallen.  Direction by Matthew Warchus.  2 hours, 40 minutes, including one intermission.


Grade: B+


How many times have I written on this very blog that musicals based on films are only truly successful when they utilize the film version's strengths while celebrating those things that can only be done live on stage?  Too many to count.  Broadway is littered with oh so many attempts at bringing the big screen to a stage near you - Saturday Night Fever, Cry-Baby, 9 to 5 all have their charms but largely failed, while others that reveled in the trappings of live theatre and capitalized on them, have found both critical acclaim and long runs - Hairspray, Thoroughly Modern Millie, Xanadu and, I hope, Once and Newsies.  The latest entry in the movie-to-musical genre is Ghost: The Musical, a show that wants so badly to be thought of as a stage musical, the word is officially part of the title.  I admit that I walked into the Lunt-Fontanne Theatre skeptical at just how this beloved romantic thriller would translate to the stage.  And so I am surprised (in all the good ways) to say that this show is one of only a handful this season where I left the show looking forward to return visit and soon.  That is not to say that it is an entirely successful stage transformation.  In fact, there are a few times where its insistence on being THEATRICAL threatens to swallow the show, the actors and the audience up in its spectacle.  Those are the moments that keep this generally exciting, emotional adaptation from being uniformly excellent.

Let's take care of the unpleasantness first, by way of a short anecdote.  A few years ago, I went on a behind-the-scenes tour of Walt Disney World, and it wasn't the big stuff that impressed me, it was the details of crowd control that I haven't forgotten.  We were in EPCOT and the guide started talking about the shape of the concrete benches in different areas of the park: areas where they wanted you to sit and be comfortable and take it all in had rounded benches in round areas, while the areas where they want traffic moving faster have straight benches that are just uncomfortable enough around the back and knee areas that you don't want to stay there that long.  In short, rounded equals comfort and warmth, while straight and angular equals off-putting discomfort.  So how does this apply to Ghost? As designed by Rob Howell, the set is in constant motion, many times not even stopping during scenes.  Because of this, you are very aware of the set; the set structure itself is extremely angular, and, well, very off-putting.  This is not a good thing for the romantic parts, and only a marginally good thing for the more thrilling sequences. It is pretty clear that the creative team wanted the show to play like a movie, smoothly and quickly getting us through a familiar story. And this is a fundamental mistake in two ways: one, movies stop and focus when the important parts happen, and two, watching live theatre demands that the audience be carefully guided as to what to look at and then given the chance to see it.

But the constant motion and angular set aren't the worst of Ghost's issues.  No, that dubious distinction goes to the overpowering and overproduced video and projection design by Jon Driscoll.  Apparently, Mr. Driscoll has been given free reign to throw every new innovation in theatrical multimedia into one show.  We have title sequences that include a "fly over" of New York City (which might have been a welcome addition to Spider-Man), photos of actual city locations digitally projected onto LED screens, and even the very bricks of our couple's loft apartment.  None of that would be so bad separately.  But the one thing that threatens to kill many a special theatrical moment is the fully distracting use of icons moving at dizzying speeds to "support" the musical numbers: when we are on Wall Street, the electronic ticker tape runs down anything that isn't moving; when characters fantasize about wealth, hot pink $1M bills cascade down the back wall.  I think you get my point.  BUT as if this weren't distracting enough, during every single dance number, while the game ensemble is working through Ashley Wallen's hip-hop meets Broadway choreography, silhouettes of the same dancers are doing the same moves on the big screens.  And they are NEVER exactly in sync, either, which only adds to the distraction.  Worst of all, those projections are so bright that the live dancers themselves look like silhouettes.  If I were a dancer in this show, I'd be pissed.

That is not to say that the set and the projections are complete failures, either.  When they aren't at odds with the story, vying for our attention like a petulant teenager, a lot of it works.  Why?  Because when "the dazzle" is turned down, and the sets and projections serve the piece, they celebrate all that live performance can do that film can not.  Oddly enough, one aspect of the projections that really worked for me were the actual filmed sequences that are shown on the set on two occasions, and both times things are dramatically heightened.  When our romantic couple finally gets down to romantic business, shadowy closeups are shown while the real couple is making love on the sofa - closeups of her hand sliding down the center of his back, his lips caressing her ear... And later, when the three main characters are at a crossroads both in plot and in emotion, we see "memories" of happier times involving all three.  In both cases, the technology was used to support, not overwhelm the moment.  Similarly, the best set moments aren't always the ones with the biggest pieces, but rather the interesting visual created when the projected scenery is carefully juxtaposed with actual set pieces.  Both times we see the psychic's storefront next to the literal inside of her shop, that allows us to see both what is outside and inside in an interesting way.  And there is an entire sequence - in the subway - where the motion of the set adds tremendously to the tension and thrill of the moment.  In the space of a few minutes, we see ghosts fighting and terrifying the passengers from just about every conceivable angle.  It is live theatre's static point of view with the feel of film's ability to cut to different angles.  And it is astonishing!  If more of the physical production were like what I described above, where less is more, and technology doesn't overpower Ghost: The Musical would be an unqualified success.

I should also note that the lighting design by Hugh Vanstone is uniformly excellent, particularly in its use of darkness and shadow, and in lighting all of the ghosts in such an ethereal and lovely way.  Also, Bobby Aitken's sound design is as clear as a bell, both in the quiet moments and during the loud, rock-infused numbers.  (I'm thinking what these two accomplished is really what the folks over at Jesus Christ Superstar were going for.)  The technical star of this show is really Paul Kieve, who created the illusions for the show.  They are truly amazing, or jaw-dropping, as they say.  Sam walks through doors, puts his hands through solid objects, appears in mist, and even morphs from Oda Mae to Sam before your very eyes.  And those are just a few tricks you might remember from the film.  But there are two things about Kieve's magic that make it truly remarkable.  First, they are STAGE tricks, not camera tricks - they are happening live right before your eyes.  And two, as astonishing as they are, they are so well done in a matter-of-fact sort of way, that they never stop the show dead, or distract you to the point that you lose focus on where your eyes, mind and heart should be.

Since the book writer and the screenplay writer are one and the same person (Oscar winner Bruce Joel Rubin), I suppose that the fact that huge sequences of the musical's dialogue are verbatim from the film is acceptable.  In fact, in this case, it really works well, because it allows the music to function in interesting ways - both the songs and the lush, beautiful underscoring.  If there were an underscoring Tony, this would win easily.  It strikes me as interesting, and very telling, that the very modern score (music and lyrics by award-winning composers Dave Stewart and Glen Ballard, with lyric also supplied by Mr. Rubin) in this very modern musical, function in the most sublimely old-fashioned way.  The book tells the story, and the songs take us inside the heads of each characters, providing back story ("Here Right Now" - the starting point of the central romantic relationship; "Three Little Words" - Sam can't say "I love you"), character development ("Are You a Believer?", "I'm Outta Here" - the complete character arc of Oda Mae), plot support ("You Gotta Let Go", "Focus" - where Sam learns about being a ghost trapped between worlds, and how he learns to fight from beyond reality), and perhaps most significantly, the sorrowful inner monologues of a woman trapped by grief ("With You" - a stunning work of grief articulated; "Suspend My Disbelief" - where Molly is starting to believe that Sam is still there guiding her).  The songs are catchy and meaningful, adding to, not detracting from, the plot.  (And yes, the film's iconic "Unchained Melody" makes two brief appearances - one funny, the other, as you might expect, to tear-jerking effect.)

All of the best uses of technology and slick direction in the world would not be able to bring this story to life without a decent cast to play the roles.  And this cast is really top-notch.  That Moya Angela and Carly Hughes are memorable at all is to their credit.  They play Oda Mae's sisters-in-crime at the psychic storefront she runs.  Oda Mae is the larger-than-life attraction, but they both manage to get noticed as the sassy, no nonsense backup to her show.  Lance Roberts makes a great, grounding impression as the Hospital Ghost, who takes Sam under his wing and tells him how the afterlife is going to be.  His act one number, "You Gotta Let Go" is a crowd-pleaser.  The other main ghost, the Subway Ghost, is a seething mass of anger, confusion and sadness, brought to life by Tyler McGee.  You wouldn't expect to feel much for such a mean, violent character, but Mr. McGee gets us to do just that when he wails, "It's not my fault!" as he exits into another passing subway.  He is a ghost caught between worlds and has no idea how to get out and make his own peace with life. Sam's killer, played by a no-holds-barred Michael Balderrama, gets the slimy parts of his character just right; he is chilling and pretty scary.

The very best decision made about this stage version was the conscious effort to hire actors who don't resemble or do impressions of their film counterparts.  Nowhere is the difference bigger and more effective than Da'Vine Joy Randolph's unique take on Oda Mae Brown, the fake psychic who turns out to have real skill with the other world.  Hers is an unenviable task: make us forget that Whoopi Goldberg won an Oscar for the same role.  Stout in that warm, Mother Earth kind of way, Randolph is both world-worn sassy and sweetly cuddly.  And during act two, where she is both at once, she is an unstoppable force of nature.  Both of her numbers stop the show, and she gets the biggest hand at the curtain call - not because the others aren't as good, but because we can relate to her best of all - flaws and all.  Bryce Pinkham, such a comic delight in Bloody Bloody Andrew Jackson, is all business here as Sam's best friend, co-worker, and, ultimately, a really bad man. He sings well, and even looks great with his shirt off - a tricky ploy to ingratiate himself with Molly.  But what makes Mr. Pinkham's portrayal so good is that you never doubt that his friendship and affection for Sam and Molly is/was genuine, and that it was his pure greed desperation that took him down the wrong, deadly path.

I hope that if Patrick Swayze can see this, that he approves of Richard Fleeshman as Sam Wheat.  Considerably younger than Swayze was, Fleeshman brings a youthful vitality to Sam when he is alive that is also a strong lesson here: the go-getter young guy needs to slow down and appreciate what he has.  And this youthfulness is also a very telling aspect of how Sam acts when he first becomes a ghost.  Going after what you want isn't enough in the afterlife apparently, and it is a bitter lesson to learn for a young boy who had the world at his feet when he was alive, and who must no grow up into the man he will never be in order to save the love of his life.  Fleeshman exudes confident charisma AND a palpable sense of confusion, and later, purpose.  He is poster boy handsome (those abs are the best scenery on Broadway) with a winning smile, and a great singing voice.  I'd like to see him in a role that requires a little more dramatic heavy-lifting.

The casting of Molly as someone slightly older than Sam raises some interesting sub-textual questions - why is she allowing him to "keep" her while she works on her art?  Why is she attracted to this younger guy who won't commit?  Looks?  His money?  How did he get to a top banking position so quickly?  How do they afford a $700/sf loft?  All of that ends up having little bearing after one witnesses the powerfully moving performance of Caissie Levy, probably best known on Broadway for playing Sheila in the recent revival of Hair.  With this role, though, she really comes into her own.  Her grief fairly pours off the stage as she tries to come to grips with such an unexpected loss.  And watching her work through the anger, disbelief and fear when confronted with the impossibility that Sam is trying to communicate with her is probably the strongest aspect of this production.  And what a beautiful, powerful voice she has!  I dare you not to cry at "With You" or bristle with excitement as she comes to see the truth about Sam.  Best if all, her chemistry with all three of her co-stars raises the show to a higher level - her give and take with Randolph, her misguided trust and exposed vulnerabilities with Pinkham, and the sexual and believable romantic sparks with Fleeshman.  The subtleties of her performance are never lost in the enormity of the production.

Finally, when director Matthew Warchus lets the power of the script and score soar on its own - mostly in the quieter, more intimate scenes - Ghost is really terrific.  And when he holds the reins tighter in terms of the show's spectacle, Ghost is a wonder to behold.  He has created a mostly successful stage adaptation of a popular film.  One wishes that he and the powers that be had a bit more confidence in the piece itself rather than overdoing the scenery and multimedia.  Still, there is so much to enjoy here once you dig through the excess. Less really can be more.


(Production photos by Joan Marcus)

Jeff

3.236

@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email); Comment below (Blogger)

REVIEW: Evita

Review of the Saturday, April 21 evening performance at the Marquis Theatre in New York City.  Starring Ricky Martin, Elena Roger and Michael Cerveris.  With Max von Essen, Rachel Potter and Maya Jade Frank.  Lyrics by Tim Rice.  Music by Andrew Lloyd Webber.  Choreography by Rob Ashford. Direction by Michael Grandage.  2 hours 15 minutes, including intermission.


Grade: A


Evita remains the best score in the Andrew Lloyd Webber canon, and the razor-sharp, witty and no-holds-barred lyrics remain the best of Tim Rice's.  That they have been re-captured in tight, majestic and visually thrilling revival only serves to demonstrate that a truly great show is one that can be presented in a completely different way from the legendary original production.  (The same can be said for the recent revivals of Follies and Sweeney Todd.)  Purists, of course, will lament and disparage the absence of the familiar, while others of us not stuck on ghosts of Broadway past will feel free to judge this version on its own merits. That's not to say that this new incarnation shouldn't be compared to the original - I will do so on a few points - but to dismiss one in favor of the other does both productions and the piece itself a huge disservice.

Visually, the production manages to capture both the enormity of this larger-than-life story of international power and corruption and the intimacies of an individual woman's rise in her quest for fame and fortune.  Considering how huge the Marquis stage is, this is remarkable in and of itself.  Christopher Oram's town square set allows for the action to take place at several locations, often at once.  The three sides are giant buildings with a terrace of playing space all around.  The buildings themselves take on different personas - a hotel/boarding house with a big door for lots of foot traffic, Peron's home with a large staircase for dramatic exits of mistresses, and upstage at the top the balcony of the Casa Rosada, home of the iconic "Don't Cry For Me Argentina" scene.  Beneath that, inconstant view are tall, thin alley ways, dark and smoky that allow for the entrances and exits of the people - sometimes, the upper class; others, the ominous military; and still others, "the descamisados" - the seething masses of Argentinians, who come and go as need and political and military climates change in this volatile state.  The smoke-infused, sensual lighting design, often employing back-lighting to create sinister shadows is designed by Neil Austin.  Along with a masterful use of shadow, he also uses spotlights with pinpoint accuracy to focus on individuals, as well as to create pools of light that suggest still more locales at once.  Oram's costumes also contribute to this enormity as the large ensemble switches back and forth between roles.  Most interestingly, the costumes also serve to compliment the dancing, with the sharp lines of the men's suits and the dresses of the ladies cut to celebrate their curves while allowing their long, sensual legs to be revealed beneath swirling skirts.

"Buenos Aires": Elena Roger, center, and Company

"And the Money Kept Rolling In": Elena Roger and Ricky Martin,
center, and Company

That dancing is choreographed by the often under-appreciated Rob Ashford, who keeps every number moving in dazzling sequences of Argentine tango, militaristic marching formations, and Latin-infused Broadway moves.  The company of actor/dancers in this production of Evita is exemplary, more than up to the task of playing multiple roles, each a triple-threat of precision, passion and panache.  Highlights include the thrilling "Buenos Aires" and "And the Money Kept Rolling In."  The menacing wrestling match moves of "The Art of the Possible" offers a subtly of danger and machismo that the original's game of musical chairs missed.  And "The Waltz for Eva and Che" is sexy and breath-taking - a reminder that a Eva is no longer struggling to gain power but for life itself.  Ashford's brilliant choreography matches Michael Grandage's stylized direction to a "t."   Between dances, Grandage makes full use of all of the playing spaces in such a way that that action flows seamlessly, only stopping occasionally to make a point.  And at all times, he has a constant eye for amazing stage pictures.  Like Eva Peron frequently did, each scene pauses for a well-thought out "photo op" - an ingenious way to subliminally match the action to the woman who has brought us together for an evening of grand theatre.

Magaldi and Eva: Max von Essen and Elena Roger

All of this high quality technical theatre and dynamic staging would lose much of its power without a well-cast corps of principal actors.  A sweet counterpoint to all of boldness of the females onstage is Maya Jade Frank as the child soloist who begs Eva for assistance.  Her voice suggests that as an adult she could play the title role in the next Broadway revival - sweet but powerfully expressive.  The same can be said for Rachel Potter, whose plaintive voice lends itself perfectly for the scorned Mistress, who sings "Another Suitcase in Another Hall."  She gets a well-deserved hand at the end of this number.  As tango singer Magaldi - and Eva's first toss off - Max von Essen does fine vocal work and demonstrates equally fine dance skills during the "On This Night of a Thousand Stars/Eva, Beware of the City" sequence.  I always find myself wanting to see more of this guy, no matter what show he is in.

Colonel Peron: Michael Cerveris

I always find the casting of Juan Peron to be interesting, mostly because it never seems to be done just right. In this case, though, they hit the mother lode with the fantastic Michael Cerveris.  He tackles this complicated terrain with seeming ease.  Our first encounter with him is during the power struggle, "The Art  of the Possible," and we notice that of all the men, he is the smallest, and yet he convincingly "wins."  He then manages to convince as a ladies man even as he is being steamrollered over by Eva.  Then he exudes charm and charisma making it believable that he'd win over a country and take power - but not too powerful so as not to believe that there is imminent danger of a coup any second.  Most importantly, though - and this is where most of the time the role disappoints - we must believe that he has a weak spot in Eva, that we can understand why he is so easily manipulated by her, and believe that his masculinity is strong enough to handle the fact that she rules the roost, not him.  Cerveris navigates this tricky road superbly and in excellent voice as well.

"You Must Love Me": Michael Cerveris and Elena Roger

I never thought I'd see an Evita where the weakest link in the production is the leading lady.  And yet, it has come to pass.  Of course, weakest link is relative in a chain as strong as this one.  As Eva Peron, Elena Roger possesses a unique voice, always loud and commanding as one might expect.  However, maybe because this was her sixth show in a six show week, she really struggled with her upper register, sounding literally as if she has just swallowed a balloon full of helium and then hits the high notes.  It is noticeable mostly in act one, where a younger, more vibrant Eva sings higher.  It isn't that you can't hear her, it is simply that the sound coming from her is awkward and on the verge of ugly.  To be completely fair, she pretty much sails through act two vocally, doing a particularly nice job with "Rainbow High," which I was sure would be trouble for her, and she is excellent as her character devolves into death.  There is also a very tangible authenticity to the way she plays the entire role - there is a subtext to her performance informed by actually having lived there and understanding the history as only a native can.  Her accent rarely gets in the way, and is many times, part of her considerable charm.  What it will boil down to for many is this: can she sing like LuPone?  Not even close.  But Ms. Roger's performance is, in my opinion, by far the best acted Evita of the dozen or so I have seen, including many video clips of Ms. LuPone as Evita.  She is also the best dancer, and this "dancer-centric" production capitalizes on this.  She is graceful, sexy, commanding, and you can't keep your eyes off of her.  What more could you ask for from Eva Peron at any age?

Eva and Che: Elena Roger and Ricky Martin

For me, the real draw of this production, aside from the beautiful staging, is Ricky Martin as Che.  So much has been made of the fact that this Che is an everyman, not a revolutionary.  I say it adds a layer to this production; no, not "add", but rather replaces a layer.  It makes Evita less overtly political and much more "of the people."  After all, this musical is about Eva Duarte de Peron not her husband.  She is an "of the people" gal, and that folksy spin was her stock in trade.  With Che as one of the people, it provides a balance to the blind fervor with which the citizenry followed this charismatic and profoundly flawed woman so blindly.  Martin brings, as you'd expect, another layer of authenticity to the role as a Latino himself as he blends into the rhythms of the score with dancing skills unlike any Che before him, and as his bold, clear voice takes him in and out of and apart from the action.  The blending in and out of Che allows the focus to be where it needs to be at all times - he only interrupts here to make his point.  He doesn't linger, overact or do things that make you look at him when you should be looking elsewhere.  Martin is also charming and charismatic, matching Eva point for point.  I think that is an important and heretofore ignored dynamic: Che and Eva come from the same roots, and look at how different their lives turned out.  An excellent, thought-provoking point for my money.  Again, for fans of the original it will come down to how Martin compares to Patinkin.  For me, there is no comparison, as I find Patinkin in any role to be self-indulgent beyond the needs of the script and score, generally satisfying his actor ego first and thinking of the show second.  Can Ricky Martin sing like Mandy Patinkin?  Not at all.  How much you like the latter's voice will inform what you think of the former, I suppose.  Can Ricky Martin command the stage as Che?  Yes, and in most ways better - you can actually forget you are watching Ricky Martin and see Che.

And so, as I said at the beginning, how much you are willing to let go of the original production (and every knock off since then) will probably determine how much you like this version.   That it has done so with amazing acting, singing and dancing is to be expected on Broadway.  That it has done so by challenging your senses and what you thought you knew about the subject is the unexpected pleasure of this terrific production.  How thrilling to see that something different and equally viable can be done with one of the better musicals of the late 20th century.

(Photos by Richard Termine)

Jeff

3.235

@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email); Comment below (Blogger)

The 2011 - 2012 Season: Trend: Projections or Films?

Having now attended last night's performance of Evita, I have had the privilege if seeing every new musical and musical revival (and a few plays) that opened this season on Broadway.  And having seen seven of them in the last 3 weeks, a certain trend is really noticeable: shows are becoming more and more reliant on projections as a  part of their design scheme.  Heck, there is even a sub-trend within that trend that I'll talk about in a minute.

Leading projection designers Sven Ortel and Howard Werner

Of course, projecting images during a show is hardly a new thing - the original production of Evita incorporated still photographs of actual people, places and events in Argentina and abroad.  But the level of technology available seems to have exploded in recent years, as has the applicability of that technology to live stage performances.

The Woman in White: Projection as backdrop scenery

This wave of multimedia application seems to have its roots back in the designs of The Woman in White, which featured huge panels that bent and curved, giving some of the projections the look of 3D, while the rest were large enough to show entire filmed sequences of elaborate landscapes.  That show began the discussion about the eminent demise of physical sets in Broadway shows.  After all, a few giant screens would be able to accommodate untold numbers of scenes, as opposed to just one.  Less space, less time, less construction, less money.  While I think the physical set is a long way from going the way of gaslights, and theatres without air conditioning, I do think the economics of the world, along with the demand for more and more elaborate shows by patrons with more entertainment choices at their disposal, projections are here to stay.  (Naturally, even though ultimately this could save major money per production, I don't see ticket prices going down...).

Jesus Christ Superstar: Projection of digital icons

Here are a few facts about and uses of projections used in the productions which opened (or will open this week) on Broadway during the 2011 - 2012 season.  There were 41 productions this season: 15 new musicals and revivals, 23 new plays and revivals and 3 solo shows.  Of those, 8 of the musicals/revivals, 5 plays/revivals, and one of the solo shows list a Projection Designer (Jesus Christ Superstar uses the term "Video Designer").  One-third of the new productions this season featured projections - "multimedia", I understand, is about to become the "official" term - which is significant.

Chinglish: Projections as subtitles

Spider-Man: Turn Off the Dark:
Projection of character in another location

Among the uses of these projections in shows that saw were: set locations (Godspell, Ghost, Newsies, Bonnie and Clyde, Spider-Man: Turn Off the Dark); moving locations (Ghost, Spider-Man: Turn Off the Dark); subtitles/location markers (Chinglish, Jesus Christ Superstar); historic footage in support of the topic of the show (Newsies, Bonnie and Clyde, The Best Man, Evita); digital graphics (Godspell, Jesus Christ Superstar, Newsies, Ghost, Spider-Man: Turn Off the Dark); and one show, that for the life of me, I can't remember a projection (Nice Work If You Can Get It).  Other shows that list a Projection Designer that I did not see are: The Mountaintop, Hugh Jackman: Back on Broadway, Wit and The Columnist. (I did not include Magic/Bird, which does not list such a designer, but whose production photos  clearly show projections.  Also, even Off-Broadway is getting into the projection game - both Carrie and Now. Here. This. made use of multimedia.)

Off-Broadway's Carrie: Projection as scenery

Ghost: The Musical: Film footage projected on scenery

And that trend within a trend?  Projecting films - literally movies - on the set to show "close-ups," provide scene transitions, and/or to provide actual historic footage of events.  That happened in Bonnie and Clyde, Newsies, Evita, Ghost and The Best Man.  Imagine how noticeable that is when you see four of those five in less than nine days!

Brief Encounter: The Gold Standard of Theatre Projection

The Normal Heart: Projection as thematic support

Lombardi: Projection to put us in the middle of the action

Priscilla Queen of the Desert: The main "set" is projection "able"

Wonderland: Projections where too much hurts the show

Just how effective this multimedia explosion has been/is/will be I will have discussed in my reviews, a few of which are yet to come.  But I can say that in the recent past, the use of projections were particularly successful in adding to the plays Brief Encounter (the gold standard), Lombardi and The Normal Heart, and the musicals Billy Elliot and Priscilla Queen of the Desert.  On the other hand, they were used to disastrous effect in the musical Wonderland.  Like any other design element, getting just the right amount and not over doing it is a very fine line.


Jeff

3.234

@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email); Comment below (Blogger)