Scene: December '12
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GiantWhat? From the show website: "Based on the classic novel by Pulitzer Prize-winning author Edna Ferber, GIANT is a new American musical that spans generations in an epic chronicle of the state that’s like no place else on earth: Texas. Amid a turbulent culture of greed, bigotry and money, a powerful cattleman, his new East Coast bride, their family and friends – not to mention their enemies – embrace and confront the joys and sorrows that loom as large as the state they call home. With a book by Sybille Pearson (the Tony-nominated author of Baby), music and lyrics by Michael John LaChiusa (the five-time Tony-nominated composer of The Wild Party and Hello Again) and direction by Michael Greif (the three-time Tony-nominated director of Rent and The Intelligent Homosexual's Guide...), GIANT will come to life in an appropriately huge production with a company of 22 actors and a 17-piece orchestra."
When? December '12 Where? The Public Theater Why? As the description says, it's a classic story, and new musicals are so exciting. I am becoming quite a fan of seeing shows in their earlier incarnations (see my blog post here). Well? For me, the stars of "Giant" were the cast, the staging and the story. There are some lovely songs as well, but the richness and complexity of this love affair between a man, Jordan "Brick" Benedict (Brian d'Arcy James), and his land, to the exclusion of his wife and children, is fascinatingly told. I especially loved Kate Baldwin, as Leslie, the independently-minded woman with whom he falls in love, and her struggle to empathize and share his passion for Texas. Her immediate revulsion to the racism towards the Mexicans, native to the land, and how it eventually impacts her children and her marriage is well developed, I thought. Bobby Steggart, as their principled son, young Jordy, and P.J. Griffith as the poor "bad boy" turned oil tycoon were also standouts. HTML Comment Box is loading comments...
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WorkingWhat? From the show website: "Six extraordinary actors embody thirty-six everyday Americans in this tuneful act of job creation! Don't miss the NYC premiere of this newly-revised version of Working, directed by Gordon Greenberg.
Based on Studs Terkel's famous 1974 book of interviews, this critically-acclaimed musical features well-loved songs by Craig Carnelia, Micki Grant, Mary Rodgers and Susan Birkenhead, Stephen Schwartz, and James Taylor as well as two brand-new songs from Tony Award-winner Lin-Manuel Miranda (In the Heights)." When? December '12 Where? 59E59 Why? Huge Stephen Schwartz fan. I read Terkel's book during college and did a paper based on it for a management seminar in business school. When I saw the Keegan Theatre production of this show earlier this year, I thought I'd love to see it again. Stephen Schwartz is involved in this revival off Broadway, and Lin Manuel-Miranda is contributing new music as well. Well? A wonderful production of this show! I really love the music and the weaving together of tales of individuals (but representing all of us) reflecting on their "working" lives, is compelling. The small cast is exceptionally skilled at making us care about the constantly shifting identities they portray. Strong voices, comedic talent and true charisma is plentiful. I enjoyed the new songs, and the effective updating of the material to reflect present day reality. If you haven't seen the show before, this is a fantastic place to start! |
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Assassins [Benefit Concert]What? From the show website: "On Monday, December 3, 2012, the 2004 Tony Award®–winning cast of Assassins will return to Studio 54 for a star-studded Benefit Concert Reading, under the direction of Joe Mantello and with musical direction by Paul Gemignani.
Reuniting for one night only are the stars of that production: Becky Ann Baker, James Barbour, Mario Cantone, Michael Cerveris, Mary Catherine Garrison, Alexander Gemignani, Neil Patrick Harris, Marc Kudisch, Jeffrey Kuhn and Denis O’Hare. Members of the original company returning are: Merwin Foard, Eamon Foley, Ken Krugman, Anne L. Nathan, Chris Peluso, Brandon Wardell, Sally Wilfert. Assassins is the show that gives new meaning to the phrase “killer musical.” With a stylish Stephen Sondheim score and a provocative book by John Weidman, Assassins brings to the stage a (shooting) gallery of some of history’s most notorious players—the men and women who attempted to kill American presidents. This striking work looks at the lives, loves and lunacy of nine American assassins, including John Wilkes Booth, John Hinckley, Lee Harvey Oswald and Lynette “Squeaky” Fromme. Both serious and satirical, the musical asks what hunger drove these people to their actions and what binds them all together. Is that drive what makes them quintessentially American? Assassins first appeared off-Broadway in 1991. Roundabout’s 2004 revival, under the direction of Joe Mantello, was the show’s Broadway debut and received huge critical acclaim, winning five Tony Awards, including Best Revival of a Musical, Best Director for Mantello, and Best Featured Actor in a Musical for Michael Cerveris as John Wilkes Booth. Mantello, Cerveris, and music director Paul Gemignani all return for this one-night-only celebration that reunites Roundabout’s spectacular original cast." When? December '12 Where? Studio 54 Why? This theatre has been the catalyst for me to see some unique and wonderful Broadway and Off Broadway shows over the past few years. I am happy to contribute to its existence. But no matter what, how could I pass up Neil Patrick Harris and the rest of the original cast in a reunion performance of this show I've heard about but never seen? Well? It's difficult to overstate how fantastic a performance this was...although it was a staged reading, there was a full orchestra on stage, and I find I really enjoy using my imagination to fill in the costumes, sets, etc. The fact that this was a reunion of the original cast was extra-special, and each of the actors seemed to be reveling in the moment. I spoke with several of the actors after the show and they were so genuinely excited to see each other and perform together again. I thought it was cool that the young actor who had played the child in the original production, was now old enough to play another role and a younger actor (currently starring in "Elf" on Broadway) played the child role this time around. I loved Sondheim's score and it was truly an intriguing and unusual premise; a completely different perspective on these historical tragedies we all think we know so well. |
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BetrayalWhat? From the show website: "For seven years, Emma and Jerry engage in a passionate love affair, deceiving their spouses, each other, and at times, even themselves. One of the 20thcentury’s most influential dramatists, Nobel Laureate Harold Pinter innovatively explores the complexities of love, guilt, and duplicity in this Olivier Award-winning classic."
When? December '12 Where? Huntington Theatre Company, Boston MA Why? I was familiar with this theatre company, and with Harold Pinter, there were discount tickets available on Goldstar, and I had a free night in Boston! Perfect match! Well? The dance around the truth in which the characters in this play engage is fascinating. Behind a thin veil of politeness and order, relationships are not what they seem to either the audience or the characters involved. There is a brutality behind the manners and there are simmering conflicts that you're never quite sure will erupt. It's all about the words and the nuances, and, while I did enjoy the performances, I think the play would have been better served in a smaller, more intimate space, with better acoustics and a lower, smaller stage. |
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Pippin
What? From the show website: "A bold new staging of the dark and existential musical you thought you knew. Pippin, on a death-defying journey to find his "corner of the sky," must choose between a life that's ordinary or a flash of singular glory."
When? December '12 Where? American Repertory Theater, Boston MA Why? This seems to be my year of filling in all the holes in the road of my theatre experience...yet another show I never saw in a professional production and always hoped to see. The director of this production is Diane Paulus, of whom I'm a big fan...she did the fabulous recent revival of "Hair," and a completely unique staging of "Prometheus," also for A.R.T. that I greatly enjoyed in 2011. Whether or not this continues on to Broadway, I knew I wanted to see it at its inception. Well? What a rush to see this show in its very first performance with an audience! I'm particularly happy that I had no preconception of what I would see, because even the context of these so-familiar songs was a revelation. The production has been staged with a circus theme, and professional circus performers were brought in; but the amateurs in the cast did a fantastic job with the stunts. This could not be more true than in the case of Andrea Martin, who plays Pippin's grandmother. I spoke with Charlie Alterman, the music director (he did "Godspell" last season) at intermission and he shared with me that when Andrea discovered that it would be a circus setting, she dedicated herself to learning the tricks so that she could perform them herself. Andrea Martin turns 65 next month, yet there she was in fishnet stockings and a leotard, on a trapeze, doing tricks that brought the house down. Highlight of the show for sure. I was also thrilled to see Charlotte D'Amboise (daughter of the famed dancer Jacques D'Amboise) and Terrence Mann, actors I've long admired. The "ringmaster" or "leading player," as the character is named, is played by Patina Miller (nominated for a Tony Award for her work in "Sister Act"). Her impressive voice and cat-like movements were well-suited to the lurking, menacing manifestation of Pippin's inner-voices. Pippin was played by Matthew James Thomas (the original Peter Parker in "Spiderman Turn Off the Dark") with the perfect blend of childish naiveté, playfulness and self-absorption, as Pippin searches for his place in life. All of the non-circus experienced cast did extraordinarily well with the acrobatic tricks and props, and likewise, the authentic circus performers were integrated into the cast well. As soon as the cast left the stage after their bows, I told my cousin who'd attended with me (and thought it was "remarkable") that I wasn't ready for it to be over and wished I could see it again right then! |
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A Christmas Story
What? From the show website: "Ralphie Parker wants only one thing for Christmas: An Official Red Ryder Carbine-Action 200-shot Range Model Air Rifle. A Christmas Story, The Musical is the hilarious account of Ralphie’s desperate quest to ensure that this most perfect of gifts ends up under his tree this Christmas. Directed by Tony®-winner John Rando, and choreographed by Warren Carlyle, this new Broadway musical is based on the classic 1983 movie, which itself was based on stories by legendary radio humorist Jean Shepherd. With songs both funny and heartfelt by Benj Pasek & Justin Paul, and a faithful yet inventive book by Joseph Robinette, A Christmas Story captures holiday wonder with such deliciously wicked wit that it is sure to delight children and grown-ups alike. It’s the Christmas present that you’ll cherish all holiday long."
When? December '12 Where? Lunt-Fontanne Theatre Why? I love the team of Pasek & Paul..."Dogfight" was so wonderful! And it's the perfect new show to see in December. I'm not sure I've ever seen the movie all the way through, so I'm actually looking forward to seeing it on stage first :). Well? Charming adaptation of the movie. The cast is first-rate, with Dan Lauria ("Wonder Years;" "Lombardi") as adult Ralphie, narrating his memories of that Christmas of the quest for the coveted BB gun. The children in the cast are the standouts though; they radiate charisma and carry more than one musical number themselves with great success. Special mention to the number with the various sizes of the "leg lamp;" so clever. I loved the sets too; the "two-story" house was so well used, and I heard the gentleman behind me (who, if his hearty guffawing throughout the show was any indication, LOVED this show) exclaim with delight the first time the family car appears. The costumes were also well done; they were "period," but had an unexpected style that worked well to avoid "fixing" the story too firmly in the past. Pasek and Paul's score was interesting and fun and suited the story perfectly. |
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Dead AccountsWhat? From the Playbill.com synopsis: "A prodigal son shows up unexpectedly at his midwestern home, to the puzzlement of his family, who don't know whether he's coming home or running away. Where's his wife that no one likes? And where did all that money come from?"
When? December '12 Where? Music Box Theatre Why? The playwright is Theresa Rebeck (last season's "Seminar," TV show "Smash," Pulitzer nominee) and the cast includes several of my favorites, including Norbert Leo Butz ("Catch Me if You Can," "Wicked," "Dirty Rotten Scoundrels") and Jayne Houdyshell ("Follies"). Interestingly, Katie Holmes is one of the stars. I am definitely intrigued. Well? The reason to see this show, and the reason I'm glad to have seen this show, is Norbert Leo Butz. He truly is comic genius and carries the show (both intentionally as the focus of the story, and due to his skill and presence on stage), with an able assist from Jayne Houdyshell as his stalwart mother, who lets no one and nothing stand in the way of her opinions. Katie Holmes was quite capable in her role as NLB's sister, and definitely holds her own with him during their scenes together. The story is intriguing, and darkly funny; setting up a culture battle between NYC and America's heartland (the play takes place in Ohio). I enjoyed the feeling that I got to know the characters and cared about what happened to them (I do like Rebeck's writing). And the fact that not every story was neatly wrapped up at the end was oddly satisfying. |
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Forever DustyWhat? From the show website: "'Forever Dusty' tells the dramatic, revealing story of how a shy Irish Catholic school girl from West London transformed herself into the voice of blue eyed soul, the face of Swinging London, and a worldwide superstar -- the legendary Dusty Springfield. The provocative musical stars Kirsten Holly Smith in a tour de force performance, channeling the power and presence of Dusty in such memorable classics as Son of a Preacher Man, You Don't Have to Say You Love Me, The Look of Love, and many more."
When? December '12 Where? New World Stages Why? Dusty Springfield. Well? This was a fascinating journey through the life of a singer who has always been a favorite of mine. I was taken aback by how much I never knew about her personal life: she had a long term relationship with an African-American woman during the 60s, and the issues of race and class were woven into her decisions at a turbulent time worldwide. Her substance abuse problems were dealt with unflinchingly, and were difficult to watch (a tribute to Kirsten Holly Smith's performance). Special note goes to Christina Sajous, who plays Dusty's long-time partner with a fierceness and authenticity exceeded only by her amazing voice. And that was the real treat in this show-hearing wonderful renditions of Dusty Springfield's well-known songs. The staging was also well done; the small space shifts easily from home to club to arena to recording studio. This is a big story to be told in 90 minutes, and overall, given the unavoidable limitations of reduced space and time, it succeeded in telling it well. |
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BareWhat? From the show website: "Through its pulsating rock score and emotionally charged story, Bare has thrilled and moved audiences around the world since its first staging in Los Angeles over a decade ago.A contemporary rock musical, Bare follows a group of teens wrestling with issues of identity, sexuality, and religion at a co-ed Catholic boarding school. Provocative, raw, and unyielding in its exploration of how today's generation navigates the tightrope between adolescence and adulthood, Bare examines the consequences of baring a soul-or hiding it from those who matter most.
Opening November 2012 at New World Stages in the heart of Manhattan's theater district, this all-new production boasts an electrifying creative team including internationally acclaimed director Stafford Arima, Emmy-nominated choreographer Travis Wall, and Tony award-winning set designer Donyale Werle. With music by Damon Intrabartolo, book and lyrics by Jon Hartmere, and musical supervision and additional songs by Lynne Shankel and Jon Hartmere, New York audiences will soon discover why Bare has amassed a passionate international fan base, received over one hundred productions worldwide, and is poised to be this season's musical theater event." When? December '12 Where? New World Stages Why? This has all the elements that make me excited about musical theatre: provocative subject matter, exciting music and, in this case, a brilliant choreographer in Travis Wall (one of my all-time favorite dancers from "So You Think You Can Dance" and beyond). Well? There is an aching, poignant romance to this show that touched me. It has the angst and fatalism of youth that I remember from "Rent" and "Spring Awakening," but with a sweetness to the characters that was appropriate to the high school setting. I liked that a fairly high number of ensemble characters had stories that were engaging and entertaining; it gave the school environment a bit more substance. The leads, Jason Hite and Taylor Trensch are marvelous together, and Taylor is incredibly charismatic and endearing as the expressive, undeterred "boy in love with the boy and in love with love." Surprising to me was my slight disappointment in the choreography. I loved the group numbers, but did not love the gestures during several of the individual songs that seemed overly stilted and took me out of the moment. So, while there was an overly simplistic feeling to the story and some clichéd moments (the show is ten years old and that is evident at times), the cast's talent and the inventive staging (using a massive collage of character snapshots as a shifting background) won me over; and the universality of the theme of self-discovery and struggle for self-acceptance during adolescence, no matter whether the issue is sexual orientation, or appearance or personality is always relevant. |
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The AnarchistWhat? From the Playbill.com show page: "Pulitzer Prize-winning playwright David Mamet's explosive new play concerns one woman's desperate fight for freedom…and the one person who stands in her way. Synopsis: A female prisoner, who was once part of a Weather Underground-like radical group, pleads her case for parole with the warden."
When? December '12 Where? John Golden Theatre Why? Patti LuPone, Debra Winger...David Mamet. I'm looking forward, in particular, to seeing Debra Winger on stage. I've seen Patti LuPone previously and been to several of Mamet's plays and they're always an interesting experience! Well? The play was short but powerful; and it was worth it just to see these two great actresses circle each other on the stage, trading challenges. There was a poetry to the language, and I liked that I was not sure of the "right" outcome or who I thought had the better case, even at the end. I was amazed at the amount of story and depth of character packed into seventy minutes, and I heard audience members commenting on how much they liked it as we left the theater. That said, the expectations were likely relatively low as the announcement about the sharply abbreviated run had been made earlier in the week. |
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The Outgoing TideWhat? From the show website: "Writer Bruce Graham and director Bud Martin (Any Given Monday) return to 59E59 with a new play exploring the ebb and flow of a family dynamic, featuring an all-star cast.
In a summer cottage on Chesapeake Bay, Gunner has hatched an unorthodox plan to secure his family's future but meets with resistance from his wife and grown son. This new drama by Barrymore Award winner Bruce Graham 'hums with dark humor and profound emotion' (Chicago Sun Times)." When? December '12 Where? 59E59 Why? Michael Learned, Ian Lithgow & Peter Strauss in a new play. Good enough for me :). Well? I was unprepared for the emotional punch-in-the-gut this play delivered. I was so drained (in a satisfying way), that I couldn't even consider waiting to greet the actors after the show. I had to get home and have a good cry (and finish my half-eaten dinner :)). The performance by Peter Strauss as the declining husband/father, desperately fighting to retain his dignity, was masterful. Both he and Michael Learned wrapped up the pain and love and tragedy of these characters as a deeply personal gift to the audience. The theatre space is small, intimate and yet evokes a lake and a story large enough and deep enough to get lost in; the staging and sound work is especially impressive. I am so glad I decided to see this play; it was difficult to watch at points, but full of heart and truth. |
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The Twenty-Seventh ManWhat? From the show website: "Best-selling author Nathan Englander (What We Talk About When We Talk About Anne Frank) adapts this new play from his acclaimed short story of the same name. A Soviet prison,1952. Stalin's secret police have rounded up twenty-six writers, the giants of Yiddish literature in Russia. As judgment looms, a twenty-seventh suddenly appears: Pinchas Pelovits, unpublished and unknown. Baffled by his arrest, he and his cellmates wrestle with the mysteries of party loyalty and politics, culture and identity, and with what it means to write in troubled times. When they discover why the twenty-seventh man is among them, the writers come to realize that even in the face of tyranny stories still have the power to transcend."
When? December '12 Where? The Public Theater Why? Ron Rifkin, one of my favorite actors ever (and Chip Zien being in the cast didn't hurt either). Well? This was a show I thought I would miss because of Hurricane Sandy. I had tickets and had to give them up to see a show that had been canceled because of the storm. I could not be happier that I was able to make one last December trip to NYC to see this play. The performances were simply breathtaking and heartbreaking and suffocating in their authenticity. The set made me feel as if I was also imprisoned with these gifted, articulate men, in a cell from which there would be no escape. So I hung on every word, and flinched at every sound. What choices would any of us make? How would we face the end? I will not soon forget this one. |
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The Great God PanWhat? From the show website: "Jamie's life in Brooklyn seems just fine: a beautiful girlfriend, a budding journalism career, and parents who live just far enough away. But when a possible childhood trauma comes to light, lives are thrown into a tailspin. Unsettling and deeply compassionate, The Great God Pan tells the intimate tale of what is lost and won when a hidden truth is unloosed into the world."
When? December '12 Where? Playwrights Horizons Why? Amy Herzog, the playwright, was responsible for one of my favorite plays of the past year, "4000 Miles." Well? I am now officially a huge fan of this playwright. As with "4000 Miles," I was immediately drawn into the story and engrossed by the "who" and "why" of each character. The set was a shifting series of walls and pieces that became a table or a bed or a street corner or an office; but only in our imaginations~the scenery was always a photographic wallpaper of forest that also moved forward and back in pieces. My impression as the play went along (performed without an intermission) was that, as each scene began, more and more light was visible through the separations in the forest backdrop, perhaps symbolizing the additional light being shed on the mysteries of the events with which the characters are dealing. I really appreciate Amy Herzog's patience in taking the audience along with the characters in their confusion and ignorance; allowing the story to unfold in its own time, and not being afraid to leave unanswered questions at the end. The performances, especially Sarah Goldberg and Jeremy Strong, were all wonderful. |
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Altar BoyzWhat? From the show website: "Hailed as "high-octane entertainment" (Talkin' Broadway), Altar Boyz tells the holy inspiring story of 5 small-town boys - Matthew, Mark, Luke, Juan and Abraham - trying to save the world one screaming fan at a time. Their pious pop act, including lyrics like "Girl You Make Me Wanna Wait" and "Jesus Called Me On My Cell Phone," worked wonders on the Ohio bingo-hall-and-pancake-breakfast circuit. But when fate brings them to New York, will the boyz take a bite out of the forbidden apple? With angelic voices, sinfully spectacular dancing and a touching story, Altar Boyz is destined to rock the masses of all denominations!
PRODUCTION HISTORY Altar Boyz had its debut in September of 2004 at the New York Musical Theatre Festival (NYMF), in the 47th Street Theatre (Puerto Rican Traveling Theatre). The NYMF cast comprised Cheyenne Jackson as Matthew, Tyler Maynard as Mark, Andy Karl as Luke, Ryan Duncan as Juan and David Josefsberg as Abraham. Marc Kudisch performed the pre-recorded role of "G.O.D." The show was directed by Stafford Arima and choreographed by Christopher Gattelli. The NYMF run was limited by the nature of the festival to a small number of performances on an irregular schedule in a small theatre over a few weeks. The show opened Off Broadway at Stage 4 of Dodger Stages (now New World Stages) on March 1, 2005, after several preview performances. The cast was as in the NYMF production, except that Scott Porter played the part of Matthew, replacing Cheyenne Jackson, and Shadoe Stevens played the pre-recorded role of "G.O.D." There have been touring productions of Altar Boyz all over the United States and both national and international resident productions in Chicago, Korea, Hungary, Finland, Australia, Montreal, and the Philippines.." When? December '12 Where? 1st Stage Theater, Tysons Corner, VA Why? I remember meaning to see this show when it was in NYC and just never got around to it. The original producer, Ken Davenport, produced Godspell, so I've been wanting to see this earlier show from his collection. Well? Could not be happier that I ended 2012 on this show-high!! Incredibly charming w/high energy dancing and such a committed cast :). I thoroughly enjoyed myself and am glad I had the opportunity to finally see a show I'd heard so much about. |
