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
Hedwig and the Angry Inch
Posted: July 10, 2014 Filed under: Broadway, Musical, Revival | Tags: broadway, hedwig, hedwigandtheangryinch, johncameronmitchell, lenahall, michaelmayer, neilpatrickharris, nph, review, yitzhak Leave a comment
Matt put it best as we exited the theatre: “What a marathon.” For anyone who takes on the role of Hedwig, that show is a beast. Thirteen songs, basically one ongoing monologue, quick on-your-feet improvisation, physically challenging and exhausting…the works. And as you might expect, Neil Patrick Harris pulls it off. He didn’t win a Tony for nothing. The guy is unstoppable. No matter what is thrown at him, he doesn’t bat an eye(lash). Audience members shout things, and he shouts right back, adlibbing right and left, so much that you don’t know what was already scripted. Although when someone yelled out, and he shot back, “Get outta here, Shia LaBeouf,” you know that’s Neil.
Hedwig and the Angry Inch premiered Off-Broadway in 1998 and won the Outer Critics Circle Award for Best Musical. Last month, it won a Tony for Best Revival. They made a movie in 2001 starring book writer John Cameron Mitchell. And even if you think you don’t know Hedwig, you very well might know the chorus from Wig in a Box or Wicked Little Town. Sadly, due to the absurd Tony rules, since the show is considered well-known enough in the theatre repertoire, it landed in the revival category even though it’s never been on Broadway. This is mainly an issue because it means the creators cannot be nominated for Best Book, Best Score, and Best Musical.
Nonetheless, we can still celebrate Mitchell and Stephen Trask and what they created: this intensely funny, sexual, pushing-the-envelope, crazy rock musical about a transgender German rock and roll singer, Hedwig. It’s a one-night-only rock concert in which Hedwig tells her story, supported by her band, Tits of Clay, and Yitzhak, an ex-drag queen and Hedwig’s husband. The band is great. Lena Hall (who also won the Tony) made me wish Yitzhak had more to do (but that might be the point). She gives a subtle, striking performance, and you relish the moments she gets to sing. The costumes and wigs are fabulous, as is the set and Tony-winning lighting.
A couple disclaimers. If you don’t do well with loud shows, this might not be for you. It’s very much like a rock concert at times, and there is one song with extreme strobe lighting. Also, it might be good to study up on the lyrics in advance. Combined with the accents and volume, I had trouble understanding several parts (luckily there was open captioning that night).
But if you want to see NPH at his best, I’d see if there are still tickets before he leaves August 17th. Not to say the show is not worth seeing without Neil. I would certainly be curious to see another Hedwig; I imagine it would change the entire show. I am positive Andrew Rannells, who steps in next, will be wonderful. He’ll make it his own for sure. Any Hedwig would.
Hedwig and the Angry Inch
Book by John Cameron Mitchell, Music and Lyrics by Stephen Trask, Directed by Michael Mayer
Belasco Theatre, on sale through October 12th
Photo Credit: Joan Marcus
Pictured: Neil Patrick Harris
IF/THEN
Posted: July 8, 2014 Filed under: Becca Doodle - Meh, Broadway, Musical | Tags: anthonyrapp, brianyorkey, broadway, idinamenzel, if/then, lachanze, michaelgreif, nexttonormal, originalmusical, rent, review, slidingdoors, tomkitt 2 Comments
So any excitement I initially had for If/Then had mostly been diminished by the time I got to the show due to the mixed reviews and word of mouth saying it was confusing and hard to follow. But what can I say? I enjoyed myself regardless (check out the highlight reel here). The new musical is certainly not perfect. It’s a little all over the place. I could have done without the choreography. Characters are underwritten. There are a few too many moving parts if you will, but it does have a lot going for it.
Idina Menzel is a powerhouse. Say what you will about her TV performances; she belongs on that stage and subsequently brings the house down. She’s famous, folks. The rest of the cast is amazing, talented, and sadly under-used. LaChanze gets her chance to shine as does Anthony Rapp (who, I must say, has never sounded better), but Jenn Colella’s character doesn’t get the chance to develop. Same with Jerry Dixon, Jason Tam, or even the male lead James Snyder. It’s Menzel’s story through and through. The rest of the characters tend to just circle around her.
So If/Then is about Elizabeth. She’s nearing 40 and having just gone through a divorce out in Arizona, is moving back to New York City to start her life over. What’s holding her back is her tendency to overanalyze all her decisions – playing out all the possible results of every possible action – therefore making her hesitate over every little thing, from huge life decisions to how to spend her afternoon. The big convention of this musical is that one of these smaller decisions ends up splitting her life in two, and we get to see how the two sides of the coin play out, prompting the question: how can one seemingly unimportant decision potentially affect the rest of our lives?
As a result of this setup, many people have said the plot is difficult to follow, or they didn’t realize that two different stories were being told. I honestly didn’t think it was that challenging. True, I went in knowing it was going to happen, but even so, I think it’s spelled out quite clearly in the first number. And then they set up blatant clues as to which “timeline” you’re in – it’s either Liz wearing glasses or Beth without. It’s “Sliding Doors” the musical, as Laura Benanti says. Side note: I’ve also been calling it “RENT 2: Mortgage.” It’s fun to see Anthony and Idina together again. There’s a scene where they talk about how the term “squatting” is dated, and that gets quite the laugh from RENT fans in the house.
The score is the thing. I’ve had the cast recording on repeat on Spotify for weeks. If you don’t know Tom Kitt and Brian Yorkey, they won the Tony for Next to Normal. These guys know how to write a score. Here are a few sample songs of theirs: Some Other Me, Superboy and the Invisible Girl, and the Next to Normal Tony performance of “You Don’t Know” / “I Am the One.” A couple weeks ago the If/Then cast recording debuted at No. 19 on the Billboard charts. A Broadway show hasn’t done that since 1996. You may have heard of it; it was a little show called RENT.
I won’t talk about how the storylines play out or what ends up happening. I will say that I think the show deserved a little more acknowledgement than it received. Although it’s flawed, and I honestly would recommend seeing other shows first, the fact that it’s a brand new musical should be supported and recognized.
IF/THEN
Music by Tom Kitt, Book and Lyrics by Brian Yorkey, Directed by Michael Greif
Richard Rodgers Theatre, Open-Ended
Photo Credit: Sara Krulwich
Pictured: Idina Menzel and the cast of If/Then
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
Mothers and Sons
Posted: June 17, 2014 Filed under: Broadway, Drama, Play | Tags: bobbysteggert, broadway, frederickweller, gaymarriage, mcnally, mothersandsons, review, terrencemcnally, tynedaly Leave a comment
All of the feelings. All. Of. The. Feelings.
Terrence McNally’s new Tony-nominated play Mother and Sons caught me completely off guard. I was offered free tickets the night before (thanks Danny!), and before I knew it, I was sitting in the Golden Theatre with my good pal Marianne and was in for a very intense, yet incredibly funny, ride. Talk about a charged hour and a half. You can feel it in the house. Once the audience quiets down enough to truly listen, you can hear a pin drop as the characters walk around on eggshells.
We open on a mother (the excellent Tyne Daly) and her son’s ex Cal (Frederick Weller), together at his apartment on the Upper East Side where he lives with his husband and young son. We learn very quickly how she (Katharine) feels about homosexuals, her son Andre’s previous relationship with Cal, and what ultimately ended up happening to Andre. I’m not going to give anything away, not that these are monumental secrets, but the pace at which they’re revealed is important, and I don’t want to get in the way of that.
The performances are excellent. It was great to see Frederick Weller in this role, because the last time I saw him he was playing the classic best friend jack-ass in a Neil LaBute play. Bobby Steggert as his husband Will is also wonderful. And the little kid (Grayson Taylor)! I can’t even talk about it. He does such a great job. I’d never seen Tyne Daly live, and she is a force to be reckoned with. What a presence. The entire time! She creates such a nuanced, deep, striking character. The audience knows this person. We know not to mess with this woman, and yet simultaneously, we know she’s ready to break.
The play feels a little long, and as Mare pointed out, there are some repeated beats, moments of thinking “we’ve been here before,” but at the same time it remains effective. You know something is working when a character that is never seen has that much power over a room and not just over the characters but the audience as well. Katharine’s son Andre exists only in their words and our imaginations, but he may as well be on stage with everyone else.
It’s also told in real time which I personally love and have been thinking about a lot recently because The Understudy is in real time. It’s exciting for an actor to get to tell a story from the literal start to finish. There’s a change over the course of a play in general, but when it’s in real time, that change is not only over the course of the play but that particular hour and a half. Those 90 minutes have to be awfully powerful in order to warrant a story, and this one succeeds. The last twenty minutes really struck a chord with me. All of a sudden I found myself sobbing. It was an unexpected cathartic experience. I don’t remember the last time a play triggered me in this way. To go from a few controlled tears to ultimate ugly-cry-mode was not what I had expected, but boy, did it feel good.
Mothers and Sons
Written by Terrence McNally, Directed by Sheryl Kaller
Golden Theatre, Closing June 22nd
Photo Credit: Sara Krulwich
Pictured: Tyne Daly and Frederick Weller
Becca on Broadway 