2014 New York Reviews by Stan Mazin
NEW YORK THEATRE TOUR
2014
MOTHERS
and SONS by Terrence McNally
This is a story, apparently a sequel to McNally’s Andre’s
Mother, of a mother who has lost her son to Aids, and was so bitter about it
that she never gave him the love he deserved. She visits his last lover years after his memorial and this proves to
have many very interesting conversations. Enough said about the plot. It is directed by Sheryl Kaller, scenic design by John Lee Beatty, costumes by Jess Goldstein, and lighting by Jeff
Croiter. Tyne Daly is a remarkable
actor, as is the rest of the cast, including Frederick Weller, Bobby Steggert, and Grayson
Taylor as the now married couple’s adopted boy. It is a slight disappointment that the mother’s role is on one level almost
to the end, but it must be that way or the end wouldn’t be significant. I enjoyed it so much, and McNally’s
conversations deserve praise.
IF/THEN music by Tom Kitt, book & lyrics by Brian Yorkey, directed by Michael Greif and choreographed by Larry
Keigwin, music direction by Carmel Dean, set design by Mark Wendland,
costumes
by Emily Rebholz and lighting by Kenneth Posner. Idina Menzel stars in this show with great
support from LaChanze and Anthony Rapp as well as the other cast members. We often wonder in any decision we make what
would happen if a different choice is made. If/Then is a show that shows exactly
that. Cleverly showing both
possibilities in Elizabeth’s (Ms. Menzel) life, the way it is conceived, we
never lose touch of which life she is living. She is called Liz in one life, and Beth in the other. The role Ms.
Menzel plays is a complex character who has difficulty with romantic
commitment. The occurrences with the help
of the creative set move the show along nicely.
I wish I could say the songs were more memorable, but I do think they
suit the show. And what a joy to hear
Idina Menzel’s voice again.
AFTER
MIDNIGHT, directed & choreographed by Warren Carlyle, features 26
musical numbers with a cast of 25 competent singers and dancers. If you don’t expect a plot or story about the
Cotton Club in what I believe is the 30s, you won’t be disappointed. This is ALL DANCING and ALL SINGING with a
live 17 piece band (orchestra) playing the greatest tunes you’ll ever
hear.
Vanessa Williams, looking more beautiful than ever, stars in this musical tribute to Harlem. Supporting her are the likes of Dule Hill, Adriane Lenox, Karine Plantadit, Julius ‘iglide’ Chisolm, and Jared Grimes. I would love to name all the talented performers, but I haven’t got the time, and neither have you. Suffice to say, if you love that music era, you will love After Midnight.
PIPPIN book by Robert O. Hirson, music and lyrics by
Stephen Schwartz, directed by Diane Paulus, choreography by Chet Walker, Circus Creation by Gypsy Snyder, scenic design by Scott Pask, lighting by
Kenneth Posner, with costume design by Dominique Lemieux, to name just a few of
the designers.
At last I have seen the new Pippin! Having choreographed
one of the former versions of the show, I was more curious than ever to see
it. It is a spectacle, and there is
something going on every minute. This
version stars Kyle Dean Massey (a beautiful as well as beautifully acted
Pippin), Ciara Renee (the Leading Player… lovely but who can forget Ben
Vereen!?!), Terrence Mann (who plays Charlmayne to the hilt… fantastic
performance), Charlotte d’Amboise (a beautiful and most erotic Fastrada), Annie
Potts (always one of my favorites, playing Berthe with a cane rather than a
wheelchair), and finally Rachel Bay Jones (who plays the best Catherine I have
ever seen… funny yet sensitive enough to demand audience admiration). Other members of the cast include many circus
type performers who accomplish so much in this show. And Pippin (Kyle Dean Massey) does so much of
the circus work himself, he is astonishing!
BUT… with all the wonderful circus atmosphere, I couldn’t help feeling
that oftentimes, the outside movement takes away a little of the focus of this simple
story. But to see Pippin in any style…
what a joy!
THE
BRIDGES OF MADISON COUNTY is such a physically beautiful show, with the
help of all involved with book by Marsha Norman, music & lyrics by Jason
Robert Brown, and directed by Bartlett Sher, scenic design by Michael Yeargan, costumes by Catherine Zuber, and lighting design by Donald Holder (one of
the best parts of this show). Starring
Steven Pasquale and Kelli O’Hara (showing us even more range in the talents of
this fabulous performer, this time with an Italian accent), it is truly a
beauty to watch. This is a classic love story based on the best-selling novel
by Robert James Waller about the roads we travel, the doors we open and the
bridges we dare to cross. Although they
missed one opportunity to do a slam dunk dance number, that fact didn’t take
away from the physical value of the show.
All supporting cast was fine including Derek Klena, playing Ms. O’Hara’s
son. If you recall the movie was not
fast moving, and the show has that same pace… but with the lighting and
direction it gives us time to appreciate the beauty of the characters as well
as the space. I must say now that this
score is one of the most valued assets to the show.
CASA VALENTINA is written by Harvey Fierstein, directed by Joe Mantello, scenic design by Scott Pask, costumes by Rita Ryack, and lighting by Justin Townsend. The brilliant cast includes Reed Birney, John Cullum, Gabriel Ebert, Lisa Emery, Tom McGowan, Patrick Page, Larry Pine, Nick Westrate, and Mare Winningham. Based on a weekend ‘lodge’ in the Catskills in the early 60s, Casa Valentina is a haven for cross-dressers from all walks of life. All the men at one point or other are in dresses. The dialogue is crisp, humorous, and often biting, and the actors couldn’t be better. I find it difficult to believe that a standard audience in the mid states would find this their cup of tea, due to its special content, theatre-minded people on both coasts will thoroughly enjoy it, as I did. I even learned a little something about cross-dressers’ feelings… so I was happy. And I think you will be happy too.
A GENTLEMAN'S GUIDE TO LOVE AND MURDER book and lyrics by Robert Freedman, music and lyrics by Steven Lutvak, and directed to an inch of its life by Darko Tresnjak, this TREASURE is such a fantastic delight. The writer’s wife, Jeanne Kaufman (a gifted actor in her own right) told me about this show a year ago. At that time, A Gentleman’s Guide to Love and Murder was a mouthful to say … but once you see this cleverly put-together show, you will never forget it. It stars Bryce Pinkham and Jefferson Mays (I Am My Own Wife). Both have credits too long to list, and both are so brilliant in this farcical musical treat. They are supported by 9 of the most multi-talented actors on Broadway. The songs are delicious, as is the direction. PLEASE do NOT miss this show. There is no doubt why it claims 10 Tony nominations this year.
BULLETS
OVER BROADWAY… Following a successful movie by Woody Allen is no easy
task. But if anyone can try, Susan
Stroman is the one. Written by Woody
Allen himself, scenic design by Santo Loquasto, costume design by William Ivey
Long, lighting design by Donald Holder, musical coordinator by Howard Joines,
and directed and choreographed by Susan Stroman, this musical accomplishes that
narrow margin between a successful movie and a successful Broadway
musical. I have always said to many that
you shouldn’t compare these two media… but here I am breaking my own rules
slightly. Marin Mazzie who is no novice
to the musical stage, displays her ability to great advantage. However, being super critical, I wondered how
we could get away from the divine Dianne Weist’s “Don’t Speak!”
recognition. This is a musical and I
thought why couldn’t Zach Braff begin to sing, then she could say “Don’t
Sing!” Then certainly that would be her
own distinctive line to remember her forever. And Jennifer Tilly’s voice was so super recognizable, it was impossible
for Helene Yorke to compare, even though she was outstanding in her part. Nick Cordero, playing Cheech was also notable
as was Karen Ziemba and the remaining cast.
I would love for someone to write a musical specifically for Ms.
Ziemba’s great talent. And lastly, there
is no doubt Susan Stroman is the Mistress of Movement, but the last number
seemed a bit forced, only to have a ‘big finish’… but what she does throughout
the show is nothing short of brilliant.
Overall, I doubt anyone would be disappointed. I loved it.
ROCKY…
What a surprise!!! I am not a sports
fan, but the way this show was put together made me a Rocky fan. The book is by Thomas Meehan and Sylvester
Stallone, the music by Stephen Flaherty, the lyrics by Lynn Ayrens, choreography (great fighting and staging) by Steven Hoggett and Kelly Devine,
and finally directed by Alex Timbers.
Andy Karl as Rocky is mesmerizing… sensitive, charismatic, charming,
good looking, and a great singer as well as great actor. The cast was superb, and the show moved along
very well, but the true ‘star’ of the show, or at least the one thing that
added to this person’s delight, was the scenic design by Christopher
Barreca. I won’t spoil it for you, but
when you see what he does for the fight at the end of the show, it will be
difficult for you to stay in your seats.
I don’t see how that part of the show can travel, so my advice is to see
it at the Winter Garden in NYC. I didn’t
expect much when I entered the theatre, but I came out loving this show.
I think that is it for this year… but I'll keep you posted.
-Stan Mazin
0 Comments:
Post a Comment
Subscribe to Post Comments [Atom]
<< Home