Everyone gave strong performances - delivering powerful monologues and smart, well-written dialogue with delightful comedic timing. The intersecting story lines open windows into the experiences of two people with disabilities in a revealing and matter-of-fact way. But the universal state of loneliness for all four of the characters is the emotional center of the play. Even at almost two hours long without an intermission, the play is tight to the end and does not feel overly long. Despite the characters' difficulties and losses, the play closes on an optimistic and hopeful scene.
It is unusual to see a show that has so few redeeming qualities. From the start it was clear this was not going to be a clever take on the movie from 2000 (à la Tootsie the musical), but rather an unoriginal version of the movie with added original songs that did more harm that good. These were presented side by side with famous tracks from the movie, but those numbers had new arrangements and the performances of them were overly wrought. When the actors delivered famous one-liners from the movie, the effect was cringe-worthy. And the production felt high budget in all the worst ways: a motorcycle bursting across the stage to emphasize a chaotic free-wheeling backstage concert scene, a model airplane dangles down and flies across the stage, new set pieces for almost every scene, giant neon letters lighting up the backdrop.
The movie is an enjoyable romp through an era of sex, drugs, rock and roll, but mostly earns its nostalgic place in our memories for the star-studded cast. Similarly, the best moments in this musical are when Russell Hammond (Chris Wood), William Miller (Casey Likes in his Broadway debut), and Elaine Miller (Anika Larsen) are on stage - preferably without any of the other characters. Larsen, as William's intimidating mother, stands out the most even in her secondary role and even with the daunting task of living up to the fabulous Frances McDormand who plays the role in the movie. An absolutely absurd and wildly entertaining musical parody of the classic movie. Even though I have not watched the full movie (only the beginning in preparation for this show), I appreciated references to the famous scenes and other nods to pop culture throughout. Marla Mindelle as Celine Dion is a delight to watch as she nails Celine in voice, hand motions, and attitude. The cast is having as much fun, possibly even more fun than the audience and it makes the whole thing that much more enjoyable. The premise (that Celine Dion somehow was on the Titanic and survived to help re-tell the tale) is nonsensically insane and the sets and costumes are makeshift at best, but none of that matters when you're having such a good time.
An intriguing premise - a young man gets an unnamed diagnosis and as his health begins to decline, he hires a stranger via an old school flyer on the street. He pays her $20 to listen to him speak the difficult news over the phone for the first time. A voiceover tells us the main character's thoughts and narrates much of the action, creating a disconnect between mind and body that mirrors how his mind cannot quite accept his body. The stranger is played by Linda Lavin, and without her the play would have been boring at best; she fully embodies an unlikely character and brings life to an otherwise monotonous array of scenes. While it doesn't feel longer than it's length, it also drags at points. The ending tries to bring a Wizard of Oz allegory full circle, but somehow it doesn't get it quite right and the whole play falls a little flat.
A classic Mozart opera with lively music, a story about humans at the mercy of Greek gods, and a happy ending where the lovers get to be together and everyone rejoices (modified by Mozart from the original tragic death and doom). In this production, the king's son Idamante - originally written for a soprano castrato - is played by Kate Lindsey, mezzo-soprano. Her voice is incredible, but not as strong or loud as Ying Fang singing the role of Ilia, soprano. But the two women have great chemistry together and it makes the happy ending that much happier.
The modern spin on this dated musical is not enough to save the show. A multiracial cast that includes only female, trans, and nonbinary people brings to life the tale of writing the Declaration of Independence and getting all the states to sign. Given that the last time I saw the show was as a child, my main takeaway this go-around is that our country was likely formed by immature assholes. That being said, the show is entertaining with some genuinely funny moments. But only a couple of songs are memorable and both the set and the staging were disappointing. Patrena Murray as Ben Franklin commands the stage and sleepy genius schtick really well, Elizabeth A. Davis as a pregnant Thomas Jefferson gives a strong yet understated performance, and Crystal Lucas-Perry is great as the unlikeable lead John Adams. But Sara Porkalob as Edward Rutledge from South Carolina shines the brightest with an outstanding, bone chilling performance of Molasses to Rum.
Sondra Radvanovsky, as the vengeful sorceress Medea, leaves everything on the stage in this role. In fact, she rarely leaves the stage once she arrives, and it's hard to take your eyes off her as she writhes across the floor promising revenge. Radvanovsky sings the part beautifully with real emotion, and despite her evil actions (killing almost everyone including her children), we are on her side through and through - she's a strong woman standing up for herself against the man who scorned her.
An original musical revue of Irving Berlin songs that also tells the story of his long career. Amazing performers, delightful choreography, and a well-written book with interesting tidbits about Berlin's life and work.
|
Archives
February 2024
Categories
All
|