Found
Posted: October 29, 2014 Filed under: Becca Doodle - Happy, Comedy, Musical, Off-Broadway | Tags: abed, atlantictheatercompany, barrettwilbertweed, community, dannypudi, davyrothbart, found, foundmagazine, hunterbell, leeovertree, nickblaemire, offbroadway, review, titleofshow 1 Comment
I cannot get over the new musical down at the Atlantic Theater Company. If it doesn’t get extended or picked up somewhere else, what a crime that would be. I couldn’t tell you the last time I saw something this original and simultaneously this good. Sadly, the two things rarely go hand in hand anymore.
So. Some background. Found: A New Musical is based on FOUND magazine and how it got started (ahem, founded), from its humble beginnings to later successes. The magazine is a collection of found items: notes, love letters, lists, anything you might find on the ground somewhere. Davy Rothbart started gathering said stuff and building a portfolio if you will. And now, Tony nominee Hunter Bell ([title of show]) and Lee Overtree have turned Davy’s story (and these real found notes) into a musical.
How does one do this, I hear you ask? The story itself is familiar; we’ve seen this trope before, but not told in this way. Found notes are interspersed within FOUND’s origin story – imagine that the notes serve as the subtext. An ensemble member will jump out and share a little blurb or sing a quick one-liner (which will also be projected on the walls) commenting on the scenes at hand. For example, if two characters are speaking and you can tell there is a spark between them, someone is going to interrupt with a love note written by a 7th grader. These moments are seamlessly weaved into the plot and vice versa (the plot going where it needs to at times in order to share top-quality finds). The letters also serve as the lyrics to the majority of the songs. How amazing is that? Except for a few original numbers (all wonderfully written by Eli Bolin), the remaining songs consist of new music but words from these found items (click here to hear a ballad from the show). The notes are for the most part hilarious, some tender, others heartbreaking. And they’re all so relatable. Much of the joy from the show comes from the fact that these items were written by real people. It’s also refreshing to see the notes themselves in the set/projection design. Who writes things down anymore? Here we can remember a time of passed notes in class instead of texts, to-do lists instead of a phone app, a break-up letter instead of an email. The musical has miraculously found a way to match the varying tones of these letters, lists, and scraps of trash – turning the mood on a dime.
Found features a fantastic talented ensemble, led charmingly by Nick Blaemire as Davy. Barrett Wilbert Weed plays Denise, Davy’s roommate, and damn, girl can sing. I would list the standouts among the cast, but they all get a chance to shine so I’ll list them all instead: Christina Anthony, Andrew Call, Daniel Everidge, Orville Mendoza, Betsy Morgan, Molly Pope, Danny Pudi (Community fans out there?), and Sandy Rustin.
Wrapped up in this extremely funny, modern, fresh musical is also a touching, honest message – one that is not pushed. It’s there for us to pick up on throughout the piece and is only directly addressed briefly in the second act. One of Bell’s strengths has always been sharing an idea that’s simple and true but often forgotten in our day-to-day-life craziness, without hitting you over the head with it. On the chance this production doesn’t have a future here in the city, I suggest you become one of the lucky few to catch it before November 9th.
Found: A New Musical
Book by Hunter Bell and Lee Overtree, Music and Original Lyrics by Eli Bolin, Directed by Lee Overtree
Atlantic Theater Company, Closing November 9, 2014
Photo Credit: Sara Krulwich
Pictured: Christina Anthony, Danny Pudi, Nick Blaemire, Molly Pope, and Sandy Rustin
You Can’t Take It With You
Posted: October 8, 2014 Filed under: Becca Doodle - Happy, Broadway, Comedy, Play, Revival | Tags: annaleighashford, broadway, comedy, jamesearljones, kaufmanandhart, kristinenielson, mastersofsex, review, rosebyrne, youcanttakeitwithyou 3 Comments
What. A. Ball. I knew I would have a good time at You Can’t Take It With You, but I didn’t know I would have that good a time. And what a great way to be introduced! I had never seen the play, the movie, nor the short-lived 80s sitcom (of which you have to watch the trailer). Who knew such an old-school play could feel so new and contemporary? And I mean, olllld. This play, written by Moss Hart and George S. Kaufman, originally opened on Broadway in 1936 and won the Pulitzer in 1937 (click here for a little more history). It has since had several revivals, and I firmly believe Broadway will welcome back this most recent production with open arms.
I love this kind of screwball comedy. It doesn’t quite fall into the farce category, but it is still a full-fledged comedy packed with slapstick, visual gags, witty humor, and hilarious situations. What I like is that the humor is not relying fully on misunderstandings and mix-ups (except, albeit, for one big one); rather it generates from the quirkiest, happiest family you’ll ever meet.
The Sycamores live together in New York. All of them. Mom, Dad, Grandpa, daughters Alice and Essie, and Essie’s husband Ed. Plus the maid, her boyfriend, the dance teacher who is always there, and the delivery guy who never left. It’s actually a surprise to see such a big cast up on stage, and it’s wonderful, especially with this group of performers, but I’ll come back to that. Let’s return to the plot. Alice has fallen in love with Anthony Kirby, son of Mr. Kirby, president of Kirby and Co. down on Wall Street. The Kirbys are, to put it lightly, a little more straight-laced than the Sycamores, and Alice worries that the two families meeting might ruin any future she could have with Tony. When the Kirbys come over for dinner on the wrong night and the Sycamores are going about their evening in true Sycamore fashion, things go awry very quickly (much to our delight).
It’s hard to describe the Sycamore family in words; so much of what makes them hilarious and “out there” is visual. The walls of their house alone give you an idea of what these people are like. But despite how “crazy” they may or may not be, there is so much love in this family. They are genuinely happy to be together and to be going about their business. And with a cast like this, you’ve never been in better hands.
Now comes the time in my review when I stop everything to talk about Annaleigh Ashford. If she does not get a Tony nomination for her performance, I will picket Broadway. I have loved her since the days of Legally Blonde. From Dogfight to her Tony-nominated performance in Kinky Boots, and now that I’m an avid viewer of “Masters of Sex,” I can’t get enough of her these days. Now she’s playing Essie in a show packed with stars and winning performances all around, and she still practically steals the show. I, for one, in the big group scenes, couldn’t help but watch whatever the heck she was up to. Her grasp of physical comedy is amazing, and her line deliveries are like no other.
Okay, I think I got my gushing out of my system. Other standouts include Will Brill as her husband (just wait until you see his physicality); they make an hysterical pair. Kristine Nielson, as you know, is another favorite of mine (she plays Penny, the mother). Then there’s Reg Rogers as Essie’s Russian dance teacher, who always gets me; Julie Halston who stops the show by walking up the stairs; Rose Byrne making a great debut; and I haven’t even mentioned James Earl Jones or the rest of the brilliant cast.
I’m telling you now, readers: get thee to the Longacre for a joyous couple of hours packed with belly laughs and smiles that leave your face exhausted. Just do yourself a favor, and go spend an evening with the Sycamores. You won’t be sorry.
You Can’t Take It With You
Written by George S. Kaufman and Moss Hart, Directed by Scott Ellis
Longacre Theatre, Closing February 22nd, 2015
Photo Credit: Joan Marcus
Pictured: Annaleigh Ashford and Reg Rogers
A Gentleman’s Guide to Love and Murder
Posted: August 7, 2014 Filed under: Becca Doodle - Happy, Broadway, Comedy, Musical | Tags: agentlemansguidetoloveandmurder, bestmusical, broadway, bryncepinkham, comedy, gentlemansguide, jeffersonmays, mysteryofedwindrood, review, slapstick, tonyawards, tonywinner Leave a comment
What a jolly good time! What’s that you say? An entirely new musical? Original writing, choreography, a wonderful cast and director, AND a success as this year’s Tony-winning Best Musical? What a breath of fresh air. A Gentleman’s Guide to Love and Murder was the underdog of the season, despite the fantastic reviews this past fall. It simply fell in the shadow of blockbusters like Aladdin, but as the Act One Finale “The Last One You’d Expect” states, this was the musical to take home the awards this year (Best Musical, Book, Costume Design, and Direction) plus six additional Tony nominations.
Written by Robert L. Freedman (book and lyrics) and Steven Lutvak (music and lyrics – and a welcome newcomer to Broadway), Gentleman’s Guide is based on a 1907 novel by Roy Horniman. Bryce Pinkham plays the titular character, a gentleman named Monty Navarro. Monty tells his story from prison as he takes us back to how everything began – when he finds out that he is a distant relative of the royal family, the D’Ysquiths. In fact, only eight relations stand between him and the current Earl of Highhurst. Meanwhile, Jefferson Mays plays all of said relations, and after being scorned by the family, Monty begins to take them out, one by one, getting closer and closer to the Earl himself. Both men are hilarious and spot-on in their roles(sss). Monty also finds himself torn between two women, Sibella and Phoebe, played by Lisa O’Hare and Lauren Worsham respectively, who are making fantastic Broadway debuts.
To say the least, the show is a romp full of catchy, clever songs. It’s packed with mugging and “wink winks” at the audience, and it works because the jokes are solid, and the actors telling them know what they’re doing. Once your ear adjusts to the English accent, it’s pretty much non-stop laughter with comedy ranging from sly wit to full-out slapstick. To the best of my knowledge, farcical musicals are few and far between. The Mystery of Edwin Drood is the closest thing I can compare it to within the musical genre. Like Drood, this is clean and sharp. The number performed on the Tony Awards, although it seems like it’s in hyper speed taken out of context, certainly does the show justice in my book.
Another reason the show is so successful is you can tell that the cast is having a blast, too. I mean, how can you not with material like that? Murder has never been so much fun.
A Gentleman’s Guide to Love and Murder
Book and Lyrics by Robert L. Freedman, Music and Lyrics by Steven Lutvak, Directed by Darko Tresnjak
Walter Kerr Theatre, Open-Ended
Photo Credit: Sara Krulwich
Pictured: Jefferson Mays and the Cast of A Gentleman’s Guide to Love and Murder
Forbidden Broadway Comes Out Swinging!
Posted: July 16, 2014 Filed under: Comedy, Musical, Off-Broadway | Tags: broadway, forbiddenbroadway, intothewords, parody, pippin, review, spoof Leave a comment
The most recent incarnation of Forbidden Broadway is once again a hodgepodge of Broadway spoofs. Conceived by Gerard Alessandrini, Forbidden Broadway has been running Off-Broadway on and off since 1982. It features two men, two women, and piano accompaniment. In no apparent order, the hits (and flops) of the current season are parodied, and other always-popular-topics are sprinkled in as well (such as Annie or Ethel Merman).
I grew up listening to a whole bunch of FB tunes that I had downloaded on Napster as a dorky Broadway-loving teen. I’ve always been obsessed with “Into the Words,” “I Couldn’t Hit the Note,” and the Les Misérables medley. My dad took me to see it for the first time eight years ago or so, and honestly, I couldn’t stand it. This new version I liked more. The performers are charming, and there are several clever spoofs with full-on laugh-out-loud moments. Some of it is really mean though; it actually made me a little uncomfortable at times. The tone shifts from poking fun or teasing the premise of a show to specifically jabbing at an actor’s talent (or lack thereof). It’s one thing to do a funny impression of Patina Miller in Pippin, but to straight up mock Laura Osnes in Cinderella? Not necessary. Or deserved for that matter.
Basically, the production, as I imagine many of them are, is hit or miss. Some of the songs are very funny, but the misses fall very flat. The best material is mostly in Act 1 – highlights including a Jason Robert Brown bit, The Bridges of Madison County parody, and Pippin. Now, it’s one thing for me to laugh, but I’m betting there were several tourists there that night who probably had not seen most of the season. What’s impressive about the show is that everyone finds it amusing, even when they haven’t seen what’s being spoofed. It’s packed with inside jokes, specific references, and impressions of not-so-famous actors from this year’s productions, and people still laugh. So these guys are doing something right. They have a formula, and they’re sticking to it. But while funny, the gimmick does get old over time. Maybe that’s why Act 2 didn’t do much for me. I say, lose the intermission, cut the weaker filler numbers, and go out with a bang instead of a whimper.
Forbidden Broadway Comes Out Swinging!
Created, Written, and Directed by Gerard Alessandrini, Directed by Phillip George
The Davenport Theatre, Closing July 20th
Photo Credit: Carol Rosegg
Pictured: Scott Richard Foster, Marcus Stevens, Mia Gentile, and Carter Calvert
The Cripple of Inishmaan
Posted: June 26, 2014 Filed under: Broadway, Comedy, Drama, Play, Revival | Tags: broadway, cripplebilly, danielradcliffe, harrypotter, inishmaan, inishmore, ireland, irish, martinmcdonagh, michaelgrandage, review, sarahgreene, severussnape, thecrippleofinishmaan, voldemort Leave a comment
I must say, I enjoy seeing theatre at the end of the season because it tends to be one good production after another. I’m finally getting around to seeing the shows I’ve heard wonderful things about for months. The Cripple of Inishmaan is one of them.
After being a huge hit in London, the production has made its way over to Broadway, garnering several Tony Award nominations (Best Revival, Best Director, and Best Performance by an Actress in a Featured Role). You might already be familiar with Martin McDonagh’s work – plays like The Pillowman or films like In Bruges. This play is a wonderful mix of dark themes and biting comedy where you’ll laugh in spite of yourself. It takes place in Inishmaan off the coast of Ireland in the 1930s. A Hollywood director comes to the Aran Islands to cast a film, and the young people of the town dream of getting their chance – primarily Billy, a physically handicapped boy who is desperate to get away from the cruel jeers and rumors he’s been surrounded by all his life.
As my roomie and I approached the theatre, I began commenting on the poster artwork, how it has absolutely nothing to do with the play aside from advertising its star. It’s basically three model shots of Daniel Radcliffe looking damn good. The marketing campaign is selling fame, pure and simple. But you know what? If Harry Potter gets people in the seats to see one of the best playwrights out there, then so be it.
Mr. Radcliffe has turned into quite the actor. It’s his third time on the Broadway (although still no recognition from the Tony committee). Unfortunately I missed (all of) him in Equus, but I did get to see him sing and dance (impressively so) in How to Succeed in Business Without Really Trying a few years ago. And now he’s back in another physically challenging role as “Cripple” Billy. He’s very good, but even though this review and many others are dedicating extra time to talk about the boy wizard, I do want to stress that this is indeed an ensemble piece. The aunties (played brilliantly by Ingrid Craigie and Gillian Hanna) practically steal the show. They’re spot on. And Sarah Greene as Helen is absolutely wonderful. No wonder she got a Tony nod for her performance. It’s a difficult task to play such a mean-spirited girl and remain likeable. We have to like Helen if we’re rooting for Billy to win her over. We need to believe she would do kind things for someone even though for the majority of the two and a half hours she’s treating everyone like dirt, particularly her poor brother Bartley (played excellently by Conor MacNeill). That’s the case with many of the characters, in fact. These people are cruel to one another, but we still care about them because we know that they, deep down, care about each other.
Oh, and if you’ve avoided the play because you’re afraid of the accents, you’ll catch on quickly. There are some Irish terms that might pass you by, but your ear will adjust. The story is full of twist and turns, truths and lies, and kindness and cruelty, and you’ll eagerly await what each character says next. If you’re able to get to the Cort Theatre before July 20th, I do recommend checking out The Cripple of Inishmaan. And not just because Harry Potter is in it.
The Cripple of Inishmaan
Written by Martin McDonagh, Directed by Michael Grandage
Cort Theatre, Closing July 20th
Photo Credit: Marc Brenner
Pictured: Daniel Radcliffe and Sarah Greene
Becca on Broadway 