Category Archives: Broadway

Something Rotten

Broadway, Musical, Uncategorized June 18, 2015 Comments: 2

While I tap my toes to many classic musicals and once sang “Godspell” in French, that world lost me somewhere around dancing cats and warbling beggars.  My ambivalence towards the modern day musical makes me the perfect audience member for Something Rotten.

The plot revolves around the invention of the musical as a new entertainment form that just might knock Will Shakespeare from his perch as the most popular dramatist of the Renaissance.  The clever lyrics by Wayne and Karey Kirkpatrick manage to simultaneous praise and make fun of the genre.  And their music borrows no more than seven seconds of no less than 15 other famous scores.  It’s a veritable aural Where’s Waldo for the initiated.

There is no doubt I was further seduced by the delightful performances of the two leads.  Brain d’Arcy James, painfully wasted as the spurned husband in NBC’s Smash, is put to great use as the sweet, ambitious and misguided Nick Bottom, desperate to secure a comfortable life for his family by making a decent living as a playwright.  And two time Tony Award winner Christian Borle — channeling Tim Curry — takes on The Bard as 16th Century Rock Star.  The two bring out the best in each other and their performances are further elevated by a staggeringly talented group of supporting and ensemble actors.

Casey Nicholaw’s direction and choreography keep the action moving at a swift pace and allow the cast members to move breezily from one beat to the next.  He even makes a potentially tedious kick-line work to advantage.

I could certainly make my usual complaints that most of the tunes were forgettable and the characters broke out into song at annoying intervals.  But since these criticisms are supplied by the show’s own book, instead I can report that I laughed at just about everything.  Yes, it’s all over-the-top and ridiculous, but I appreciated the self-awareness of the piece.  In fact my only disappointment is that my own chuckles and snorts got in the way of my hearing every line.

Something Rotten is currently playing at the St. James Theatre.  For tickets and information visit http://rottenbroadway.com.

Wolf Hall

Broadway, Play, Uncategorized April 22, 2015 Leave a comment

Wolf Hall is a little like that supposedly hot date with whom you didn’t have a terrible time, but you know you’re going to make an excuse not to go out with again.  The story of how King Henry VIII divested himself of wife #1 in order to marry wife #2 is sexy, fascinating and historically significant.  (Greetings, Church of England!)  The tale has been interpreted many times with great success.  (Love you, Keith Michell and Jonathan Rhys Meyers!)  The twist this time is that we see events through the eyes of Thomas Cromwell.  (Farewell the oft portrayed saintly image of Thomas Moore.)  Yet even with this legacy, reputation, and potential, there’s something a little off-putting about the results of this rendition.

Based on two popular award winning novels by Hilary Mantel and brought to life by The Royal Shakespeare Company, Wolf Hall is certainly splendid looking.  Beginning with a lively dance, the rich costumes and period music draw the audience in.  As adapted by Mike Poulton and directed by Jeremy Herrin, Part I moves at a brisk pace injected with a little humor.  However, the storytelling is patchy and potentially confusing for the uninitiated.  For example, Jane Seymour delivers a single line in a spotlight, a moment which only holds significance to those who know she eventually became Henry’s bride #3.

In Part II, events are told even more episodically.  Additionally, while Ben Miles makes a pensive Cromwell, we’ve learned so little about his personal life and credo, we have no sense of him as our guide.  The script becomes a series of call and response scenes in which we have no emotional investment.  Anne Boleyn may hold the future of the realm in her six-fingered hands, but whether she loses her head or embroiders another pillow is of equal interest and concern.

Sadly, Wolf Hall is neither an insightful piece of historical fiction nor a thoroughly entertaining piece of pageantry.  It is, however, 5 1/2 hours long and upwards of $150 a ticket.

Wolf Hall Parts One & Two are playing in repertory at the Winter Garden Theater through July 5, 2015.  For tickets and information, visit http://wolfhallbroadway.com/tickets/.

The Audience

Broadway, Play, Uncategorized March 30, 2015 Leave a comment

The Audience, a play about Queen Elizabeth II talking with eight of her Prime Ministers, may not sound like compelling drama to many.  But when the script is written by Peter Morgan — who so brilliantly explored the relationship between her Majesty and Tony Blair in the Oscar nominated film The Queen — and the role of Elizabeth is once again in the immensely capable hands of Dame Helen Mirren, you are in for an enjoyable and enlightening evening.

If you don’t know your Anthony Eden from your Gordon Brown or your parliamentary procedure from a ham sandwich, there’s no need to panic.  The action is introduced and clarified by a droll Geoffrey Beevers as the Equerry.  Following his background information won’t secure an A in English history, but it’s enough to help you grasp the significance of the proceedings you are about to witness.  Mr. Morgan increases the level of engagement by laying out the events as they relate to one another rather than chronologically.  We come to understand how each relationship and experience enriches the others.

Ms. Mirren has obviously continued to study her subject (if one can use that phrase to describe royalty).  Her tone, body language and expressions are perfect reflections of Queen Elizabeth without actually being imitation. It is a delight to watch the masterful actress move silkily among ages ranging between 26 and 88, aided by director Stephen Daldry’s clever staging and Bob Crowley’s spot-on design.

The performances delivered by the assorted PMs are of less uniform quality.  Richard McCabe as Harold Wilson is a particular revelation, helped along by having the most layered dialogue.  Rufus Wright elegantly takes on David Cameron and, in a more recently added flash-back, Tony Blair.  Surprisingly, the usually wonderful Dylan Baker as John Major appears ill at ease and occasionally loses track of his accent, while the equally gifted Judith Ivey’s interpretation of Margaret Thatcher is crushed under a tsunami of wig and teeth.  It should be noted that I attended the last preview, so these rough edges may be smoothed out during the run.  Regardless, there are enough bright spots to increase the heartbeat of any anglophile and the appreciation level of the more casual viewer.

The Audience is scheduled to run through June 28 at the Gerald Schoenfeld Theater.  For tickets and information, visit http://theaudiencebroadway.com.

The Curious Incident of the Dog in the Night-time

Broadway, Play, Uncategorized March 2, 2015 Leave a comment

If you don’t thoroughly enjoy yourself at The Curious Incident of the Dog in the Night-time, chances are good that you just don’t like plays.  The theatrical interpretation of the award-winning novel takes complete advantage of everything the medium has to offer.  Artful script.  Check.  Talented cast.  Check.  Clever staging.  Check.  Audience engagement.  Check.

Critics have raved about the lead performance of Alex Sharp who plays Christopher, the autistic teen through whom the story is told.  I can only imagine how brilliant he is since I  found Taylor Trensch — who takes the role at some performances — utterly enthralling.   On stage for the entirety of the show’s 145 minutes, Mr. Trensch is pitch perfect, skillfully knitting ritualistic movement and compulsive behavior in with his rapid fire dialogue.  I am generally not a fan of breaking the fourth wall, but I found his Christopher so enchanting I was happy to have him reach out to me directly on occasion.  The compassion and pride he inspires is critical to appreciating the production.

But Curious Incident is an ensemble piece and neither Trensch nor Sharp could succeed if they didn’t have such a strong supporting cast.  They not only play multiple roles but sometimes function as part of the scenery as well.  While everyone is top-notch, Mercedes Herrero in her Broadway debut deserves special mention for having the unenviable task of switching between two of the more outrageous characters, sometimes mere moments apart.

I also applaud the design team who have taken the black box concept to a whole new level.  Their combined use of lighting, video, movement and props convey Christopher’s viewpoint in a way that is as elegantly simple as it is brilliant.  I don’t want to give a single moment away, but I encourage you to let them finish what they start.

Tickets for The Curious Incident of the Dog in the Night-time at the Ethel Barrymore Theater are available at http://curiousonbroadway.com.  For those on a tighter budget, consider National Theater Live’s broadcast of the London production when it returns to these shores.  Bookmark http://ntlive.nationaltheatre.org.uk/productions/36297-the-curious-incident-of-the-dog-in-the-night-time.

Constellations

Broadway, Play, Uncategorized February 23, 2015 Leave a comment

If you have ever played theater games — or watched “Whose Line is It Anyway” for that matter — you are familiar with the “change” exercise.  Two players begin a scene and are then given instructions to change something: their last line, their mood, their relationship to one another etc.  Now imagine that this exercise goes on for 80 minutes.  That is the effect of Nick Payne’s Constellations.  It isn’t a play so much as a master class in the performing arts.

Fortunately for the audience, the two actors striving hard for an A+ are Jake Gyllenhaal and Ruth Wilson.  Ms. Wilson mines each segment for emotional depth as Marianne, who takes the more complicated journey of the two characters.  Every part of her body is so consistently engaged in demonstrating physical manifestations of “feeling”, I became exhausted for her.  Mr. Gyllenhaal displays remarkable range while living in the other character, Roland’s, very thin skin.  Although he has little to work with besides an unusual trade (beekeeping) and an (unlikely) attraction to Marianne, he manages to be by turns awkward, vulnerable, frustrated, and charming.  Frankly, I’d expect nothing less from this extraordinary talent and it’s a joy to experience.

Tom Scutt’s sets and Lee Curran’s lighting impressively convey the multiverse in which Marianne and Roland meet.  Both design team members were recognized for their work on the West End production of Constellations.

Unfortunately the conceit on which the script is built — that time is an illusion and the past, present and future all exist together — makes it impossible to forge any real connection to these characters.  When the reality is fluid, you can’t get any sense of who these people are as individuals much less as a couple.  I kinda sorta wanted them to end up together, but mostly because there was no one else on the stage.  Ultimately, I just wished I could go back in time and see If There Is I Haven’t Found it Yet.

Tickets for Constellations at the Manhattan Theater Club at the Samuel J. Friedman Theater are currently on sale through March 15, 2015 at http://constellationsbroadway.com.