On the Horizon: The Bridges of Madison County
Posted: January 2, 2014 Filed under: Broadway, Drama, Musical, On the Horizon | Tags: bartlettsher, bridgesofmadisoncounty, hunterfoster, jasonrobertbrown, jrb, kelliohara, marshanorman, merylstreep, onthehorizon, stevenpasquale, thebridgesofmadisoncounty, urinetown Leave a comment
Another new musical I’m excited for this season is The Bridges of Madison County. Ironically I haven’t read the book or seen the movie. It’s once again the cast and creative team that have me revved up for this show.
Directed by Tony winner Bartlett Sher, the music is written by Tony winner Jason Robert Brown and the book by Marsha Norman. Marsha Norman, guys! She’s a Tony and Pulitzer Prize winner who wrote the book for the musical The Secret Garden, a personal favorite from my youth.
The trio of stars are Kelli O’Hara, Steven Pasquale, and the recently announced Hunter Foster. I love these three. Kelli, a four-time Tony nominee, is wonderful; not just a beautiful blonde with a beautiful voice, but that girl can act (see: South Pacific, The Light in the Piazza). Steven you might know from TV land (Rescue Me or the less successful Do No Harm), but I’ve been listening to him woo me with his sweet, sweet voice for years in A Man of No Importance, singing The Streets of Dublin. And Hunter? Please. I’ve had a legit crush on him since 2001 when he starred as Bobby Strong in Urinetown. I try to see him in everything he does (yes, I even saw Hands on a Hardbody).
Here’s a song preview featuring O’Hara and Pasquale (and here is some rehearsal footage). If you’re a fan of Jason Robert Brown, I think you’ll enjoy the new tune. It has a Parade-like feel to it (for which he won the Tony for Best Score in 1999). Don’t know JRB’s music? Be sure to also listen to Songs for a New World and The Last Five Years on good ol’ Spotify.
Overall, there is a lot of potential here between the creatives and cast. Bridges begins previews on January 17th at the Schoenfeld Theatre and opens February 20th. Check back around then for a review from me!
The Bridges of Madison County
Written by Jason Robert Brown and Marsha Norman, Directed by Barlett Sher
Gerald Schoenfeld Theatre, first preview January 17th
Photo Credit: Joan Marcus
Pictured: Steven Pasquale and Kelli O’Hara
On the Horizon: IF/THEN
Posted: December 13, 2013 Filed under: Broadway, Musical, On the Horizon | Tags: anthonyrapp, brianyorkey, idinamenzel, if/then, michaelgreif, nexttonormal, onthehorizon, rent, titleofshow, tomkitt 6 Comments
It’s another new feature! “On the Horizon” posts will focus on shows that are making their way to Broadway in the upcoming season(s).
IF/THEN recently finished up its run in Washington, DC at The National Theatre and isn’t coming to the Great White Way for another several months (March 2014), but I can’t help but be excited about the possibilities!
First, you’ve got this creative team: composer Tom Kitt and book/lyrics writer Brian Yorkey (the Tony-winning writing team of Next to Normal) and Tony-nominated director Michael Greif. Second, the show stars Tony winner Idina Menzel and features Anthony Rapp, James Snyder, LaChanze, Jenn Colella, and more. Third, and possibly most important, it’s Brand. New. Material.
This is so rare nowadays in the musical world it makes my heart hurt a little. Yes, yes, musicals based on movies can be hits (Kinky Boots, Matilda) and even some jukebox musicals make a huge splash (Jersey Boys), but to quote [title of show]: “Original on Broadway? Baby, that is risky!”
I can tell you that this audio clip got me excited about it. And, well, that’s all I really know. The basic premise is that a woman in her 40s (Menzel) is entering a new phase of her life in New York City and getting a chance at a fresh start.
Who knows? Maybe it will crash and burn, but what can I say? I’m excited to support the risk-takers out there and see something new.
IF/THEN
Written by Tom Kitt and Brian Yorkey, Directed by Michael Greif
Richard Rodgers Theatre, first preview March 5th
Photo Credit: Joan Marcus
Pictured: Idina Menzel
Twelfth Night
Posted: December 11, 2013 Filed under: Broadway, Comedy, Revival, Shakespeare | Tags: allmale, billyshakes, boeingboeing, elizabethan, globe, littleredswell, macbeth, markrylance, rep, review, richardiii, shakespeare, stratforduponavon, tonyaward, twelfthnight, williamshakespeare Leave a comment
I’m honestly tempted to have this review simply state: what an effin’ blast…but I have too many other things to say.
This is how it’s done people. What a delight this production is. Brought over from Shakespeare’s Globe, Twelfth Night is in rep with Richard III through February. Both productions are being presented in the original Elizabethan style. There is on-stage seating resembling the levels of the Globe, period costumes and corsets, and most noticeably, an all-male cast. And although I haven’t seen Richard yet (review to come in January), I have a hunch that if it’s anything like Twelfth Night, neither is to be missed this Broadway season.
My good friend Courtney was my theatre pal for the evening. Oh! Would you look at that? She also happens to have a kick-ass blog! Anyway, we haven’t stopped talking about the show. The actors are excellent across the board and are a hoot to watch because it’s clear they’re having so much fun. And after sitting through Macbeth a few weeks ago listening to actors who don’t have a handle on the language, what a pleasure it is to hear Shakespeare’s words spoken the way they were meant to be spoken. Every single person up on that stage knows what they are doing, and as a result, every single word is brought to life. The poetry pours out of the lines, and there is a sense of great clarity surrounding each scene. Guys, even Ben Brantley and I agree: “They let the language lead them to the characters. Because they know what they’re saying — and where what they’re saying comes from — we do, too.” If I had to pick from his entire canon, I would say Twelfth Night is my favorite Shakespeare play. I’ve seen three different productions (including Shakespeare in the Park and the Royal Shakespeare Company in Stratford-Upon-Avon), plus the film, and even so, I still heard lines in new ways. I got to discover the comedy and wit of this piece all over again.
And don’t even get me started on Mark Rylance. This man, I mean, I can barely talk about it. Ever since I first laid eyes on his work in the farce Boeing Boeing, for which he won a Tony Award and gave THIS brilliant acceptance speech, I have not missed a show of his in New York. He starred in Le Bête and Jerusalem (for which he won his second Tony), and now he is back for these two Shakespeare plays. I look forward to seeing his Richard in January; in Twelfth, he takes on the beautiful, somber yet sassy Olivia.
Watching Mark Rylance is the equivalent of taking an acting class (read a great Q&A here). Never have I seen an actor discover on the line more. For you non-theatre folk out there, in Shakespeare, actors are encouraged to discover/have the new thought/get the idea/change tactics as they speak (“on the line”). However, many actors react and then speak when in fact the words are there to help them. Every word that comes out of Rylance’s mouth is a true discovery. It is so clear that you can catch shifts within him from syllable to syllable. Each moment is a surprise for him and therefore us. Okay, okay, I’ll stop gushing now. Go see him.
What more is there to say really? I could bore you with details or recap the story, but I don’t think it’s necessary. What counts is that Courtney and I were equally blown away (along with everyone else I’ve talked to). The direction is effortless and the acting organic. The characters and inner-relationships are incredibly well-developed. And it may have a running time of 2 hours and 50 minutes, but it never feels like it.
Oh, and those of you out there afraid of Shakespeare plays for fear that you won’t understand, this is the one to see. Billy would be proud.
Twelfe Night, Or What You Will
Written by William Shakespeare, Directed by Tim Carroll
Belasco Theatre through February 16th
Photo Credit: Joan Marcus
Pictured: Samuel Barnett and Mark Rylance
First Date
Posted: December 4, 2013 Filed under: Broadway, Comedy, Musical | Tags: bailout, bff, chuck, firstdate, musical, review, tangled, zacharylevi Leave a comment
I had hoped I wouldn’t come out of this show echoing all of the other critics, but unfortunately there’s not much new to share. We have a musical here packed with one-dimensional characters. Everyone is the ultimate stereotype: the bad boy, nagging sister, player best friend, super gay bff, the list goes on. No character ever digs below the surface, and when the writers try to do so with the leads, it only comes off as lame and ineffective.
What my companions and I were left wondering was: does the actual idea work? Can you make an entire show based on the premise of a first date? Yes, it’s funny. People easily relate; they can look at the characters up on stage and think, “Ohh yes, I’ve been there.” With the classic highlights of the introduction, small talk banter, no-no’s of first dates, awkward pauses, picking up the check, etc., there is a lot to poke fun at, but is there enough meat to make a full musical? Perhaps if there were more vignettes of multiple couples, rather than just one date, you could find more to work with. I’m not sure, but as it stands, First Date is 90-minutes of mostly filler.
The banter is light, packed with easy jokes. My theatre pal, Matt Franzetti, called it sitcom writing, and I couldn’t agree more. Now, let me stress that I love me some quality sitcoms, but I don’t go to the theatre for that. This musical could be a 22-minute sitcom with the main storyline being the horrors of a first date, but since these characters are so over-the-top and archetypal, there’s no way to connect to them as an audience. They seem fake, so when the topics try to steer their way to real connection, I didn’t go along for the ride.
I tried. I did! There are a handful of genuinely funny moments, but the rest are forced and uncomfortable. For example, there’s the gay BFF bail-out call. It’s a somewhat funny gag; yes, girls often have a friend call just in case they want to get out of a date. But then he sings the same song THREE times. They take a gag that’s not all that great to begin with and then beat it into the ground.
As for the stars, First Date features Zachary Levi and Krysta Rodriguez. We first heard Levi’s pipes in Tangled, and he is a king of landing awkward humor (see: Chuck). He’s just the right combination of awkward and charming to make even the lamest dialogue endearing. But it gets old quick. True, he keeps landing the jokes, but let’s give the guy some variety please. Also, I’m so over the standard stereotypes of guy meets girl: the uptight, tripping-over-his-words guy and the punk-rock, hard-shell girl who deep down is vulnerable and looking for love. And Rodriguez, whom I usually like, is just reciting her lines. It doesn’t feel organic, but can you blame her with some of the stuff she has to say?
It’s hard to be so harsh, but between that book, the primarily forgettable score, and the marketing, I just can’t get on board with this show. First Date will definitely be my last.
First Date
Written by Austin Winsberg, Alan Zachary, and Michael Weiner, Directed by Bill Berry
Longacre Theatre through January 5th
Photo Credit: Chris Owyoung
Pictured: Zachary Levi and Krysta Rodriguez
Macbeth
Posted: November 19, 2013 Filed under: Broadway, Drama, Play, Revival, Shakespeare | Tags: briand'arcyjames, ethanhawke, ladymacbeth, lincolncentertheater, macbeth, review, shakespeare Leave a comment
I’m sorry to declare that if you’re a fan of Macbeth, the current production up at Lincoln Center is not the one to see. Maybe you caught the more interesting Alan Cumming production a few short months ago. Or there’s still time to go see the abstract, interactive Sleep No More at the McKittrick Hotel. This more traditional approach, on the other hand, starring none other than Ethan Hawke as Mac, just sits there, barely filling the vast stage that is the Vivian Beaumont. True, the set and lighting designs are epic and at times beautiful, but they cannot make up for the significant lack of stakes within the scene work.
The drama comes across as stale with nothing really hanging in the balance. This is Macbeth we’re talking about! The murderous, bloody, envious story of Macbeth usurping King Duncan’s throne and then destroying everyone in his path in his desperate attempt to hold on to the throne. Instead, when something serious goes down, the moments venture toward melodrama. You know something is wrong when the most effective moment in the show is when the dining room table suddenly appears covered in lobster after Banquo’s untimely end. It’s quite surprising given that Jack O’Brien is the director. I like his work; he rarely disappoints. Is direction the core issue at hand here or is it the acting?
I love Brian d’Arcy James as Banquo. The man has an incredible singing voice, and his speaking voice is just as musical. I found myself wishing he had played Macbeth. And Anne-Marie Duff’s Lady Macbeth was quite astute. Her work, including the infamous “Out Damn Spot” monologue, was some of the best in the show. John Glover is also charming and enticing as one of the bearded witches. As for Ethan, while I have enjoyed some of his film work, he has never particularly impressed me on stage. Granted he is fearless and always ready to take on any part, no matter the size, but he yelled his way through Henry IV and all three parts of The Coast of Utopia. In this, his voice is all one note. There is no music in his sound, and I left craving something more.
The show doesn’t open until November 21st, and I’m very curious what the reviews will report. The running time is just under three hours. I wonder if any cuts were made from the original script. Hecate and the weird sisters are followed around by crawling gremlin-like things. My friend had a nice nap during Act II. I’m not quite sure what else to say. The bottom line is Shakespeare needs stakes. Period. If that is missing, particularly in one of the tragedies, then why is the story needed?
Macbeth
Written by William Shakespeare, Directed by Jack O’Brien
Lincoln Center Theater through January 12th
Photo Credit: T. Charles Erickson
Pictured: Ethan Hawke and Anne-Marie Duff
Becca on Broadway 