Crushworthy - Steven Reineke and the TSO Pops for Rodgers and Hammerstein!

The Toronto Symphony is back this season with their TSO Pops Concert series with Steven Reineke back conducting, this time for the first time officially as Toronto Symphony's Principal Pops Conductor! The first concert series Some Enchanted Evening: The Music of Rodgers and Hammerstein (on Tue, Oct. 9th at 8pm and Wed, Oct. 10th at 2pm and 8pm) will put a new spin on the classic songs of Broadway legends Rodgers and Hammerstein and include songs from The Sound of Music, Oklahoma!, South Pacific, The King and I, and Carousel. 

Plus, the concerts will feature Broadway's Aaron Lazar (A Little Night Music, The Light in the Piazza), Ashley Brown (Mary Poppins) and Canadian baritone Jonathan Estabrooks. Been a fan of Lazar's so it'll be nice to see him on home turf! 

I saw last year's Pop Concert series Hollywood Hits that had Steven Reineke conducting and The Little Mermaid's Jodi Benson and Broadway's Hugh Panaro singing and it was absolutely terrific. I hadn't seen Panaro before but because a fan, while Reineke is very fun to watch as a conductor. His energy and enthusiasm comes across on stage very easily, including accidentally throwing his baton after getting too excited at one point! His charming personality (and matinee idol looks) also makes him a very personable conductor that fits perfectly well with the Pop series!

And don't forget, if you're 15-35 years old, you can buy $14 tickets for the TSO with tsoundcheck! This includes future TSO shows including Merry TSO Christmas and the next Pops series with Steven Reineke, Love Will Keep Us Together (with Betsy Wolfe)!


Vance at http://tapeworthy.blogspot.com

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The Rise of the Falls - Queen of the Mist - Cast Recording Review

I missed Transport Group's Off-Broadway production of the new Michael John LaChiusa musical Queen of the Mist, but luckily, Sh-K-Boom/Ghostlight Records have preserved the show in an Original Cast Recording for us to experience.

LaChiusa's newest little chamber musical is about Anne "Annie" Edson Taylor, the first person to survive going over Niagara Falls in a barrel. She lived to tell the tale, but she thought fame and fortune would follow but was sorely mistaken. It's a fascinating story and Queen of the Mist is a beautifully told story with an intriguing book that feels epic, yet concentrates on the very personal and intimate story of this woman who would be crazy enough to pull a stunt of death defying proportions. 

LaChiusa's music tends to be extremely complex (aka not easy to digest and listen to sometimes) and while I have tended to admire rather than love some of his earlier work, his recent Giant (finally opening in New York this fall) was a tremendous and epic work that soared melodically and pulled emotional levels worthy of the classic story, and without ever losing the essence and complexity LaChiusa is known for.

With Queen of the Mist, LaChiusa hasn't lost any of the complexity in the notes of the music, but taking on the musical stylings of the early 20th century, has added some breathing room and lightness to his music, with some beautifully tuneful songs, harking back to the . Threading some of the melodies, particularly "There Is Greatness In Me", adds layers of discovery on the strange personality of this Annie Edson Taylor. There's a wink and natural comedic tone in the music and in the lyrics that pokes at Taylor's delusions without ever quite making fun of her. There's a genuine love for Taylor as a person, despite the fact that she was probably a very irritating and frustrating person to deal with.

Annie Edson Taylor was the know it all who knew nothing. An intelligent woman who wasn't smart enough to get her life together in a world and time that didn't know how to handle a brassy woman like that. As Annie, Mary Testa gives a powerful and empathetic performance that isn't lost in an audio recording. You can hear her feisty performance, and with the honesty in LaChiusa's tone, both the ridiculous elements of Taylor's life, along with Testa's no-holds-barred performance, presents both the brave and deluded woman Taylor was.

Mary Testa is absolutely amazing, even in audio only, and even her facial expressions come across through the non-visual medium. After rocking the boat in the recent Broadway revival of Guys & Dolls , or being an ungodly riot in Xanadu, it's great to see Testa take hold of a leading performance and giving it the full emotional force we knew she had in her, without losing her comedic touch, or a relatability that makes Testa so beloved.

Up against Testa's Taylor is Andrew Samonsky as Mr. Russell, the man she sort of forces to become her manager, only, as Mr. Russell predicts, turns into a tumultuous business relationship. Samonsky (quite wonderful in a small role in Little Miss Sunshine (musical) and replacement in South Pacific) finally gets a nice leading original role and his beautiful voice and tone is a perfect opposition to Testa's Taylor.

As the story of Annie's life unravels as she begins to unravel, the period music repeats itself, but with undertones of her ghostly mistakes as they layer themselves in LaChiusa's music. It becomes both a haunting tale, while also being a fascinating tabloid story. The recording has gorgeous orchestrations with some of LaChiusa's most tuneful music. I may have been sorry that I missed the production but it wonderfully lives on in this superb recording.

Vance at http://tapeworthy.blogspot.com

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Experience Queen of the Mist!

Sh-K-Boom/Ghostlight has been nice enough to send me the new Queen of the Mist Original Cast Recording CD and while I missed the original Off-Broadway run by Transport Group, I'm loving the fact that I get to experience Mary Testa's brassy and bold leading turn in Michael John LaChiusa's new musical. I'll have a full review coming soon, but I get to share the OCR experience, as I'm giving away a copy of the Queen of the Mist OCR CD to 2 lucky readers!

QUEEN OF THE MIST features music and lyrics by five-time Tony nominee Michael John LaChiusa (The Wild Party, Marie Christine, Hello Again). The show, originally commissioned and produced by Transport Group, received the 2012 Outer Critics Circle Award for Outstanding New Off-Broadway Musical. The recording was made possible with generous support from The Shen Family Foundation.

QUEEN OF THE MIST’s cast recording features performances by original cast members D.C. Anderson, Stanley Bahorek, Theresa McCarthy, Julia Murney, Andrew Samonsky, Tally Sessions and Mary Testa. Queen of the Mist was directed by five-time Drama Desk nominee Jack Cummings III (Hello Again, See Rock City & Other Destinations, The Boys in the Band). Orchestrations are by Tony Award winner Michael Starobin. The album was produced by Joel Moss, Kurt Deutsch and Michael John LaChiusa.

Based on an astounding and outrageous true story, two-time Tony nominee Mary Testa stars in QUEEN OF THE MIST as Anna Edson Taylor, who, in 1901 at the age of 63, set out to be the first woman to shoot Niagara Falls in a barrel of her own design. Navigating both the treacherous Falls and a fickle public with a ravenous appetite for sensationalism, this unconventional heroine vies for her legacy in a world clamoring with swindling managers, assassins, revolutionaries, moralizing family, anarchists and activists. Convinced that there is greatness in her and determined not to live as ordinary, she sets out to battle her fear and tempt her fate.

With a soaring score that incorporates turn of the century themes with LaChiusa’s signature complexity and insight, QUEEN OF THE MIST is the story of a single great fall, and how one woman risked death so that she could live. QUEEN OF THE MIST continues the long collaboration between Transport Group and Mr. LaChiusa, which includes the critically acclaimed Drama Desk-nominated productions of First Lady Suite and Hello Again.


To enter the contest:
- Email me at tapeworthycontest at gmail dot com

- Please subject the email: QUEEN OF THE MIST CONTEST and please include your Name, Email and full mailing address including City and State or Province (no P.O. Boxes).

- Answer the question: What other Michael John LaChiusa musical is available in Sh-K-Boom/Ghostlight's CD catalogue? (there may be more than one correct answer).

- For a BONUS Entry: Share the contest on twitter and include your twitter handle and twitter post in the email.
- For a BONUS Entry: Share the contest on Facebook on Public setting and include a link to your Facebook page in the email.

- Contest closes at 11:59pm EST on Thursday, August 21st 2012. Winner will be randomly picked from all entries received.


- Tapeworthy is not responsible for the prize. Prize will be mailed directly to the winner by Sh-K-Boom Records/Ghostlight Records.
Prize has no monetary value.

- Only two winners will be chosen by random draw (using random.org) from all entries.
Only winners will be contacted.

Vance at http://tapeworthy.blogspot.com

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Dazed and Confused - Midsummer, Charlie Brown, Pirates of Penzance, Zapata! - Stage Reviews

A Midsummer Night's Dream - Canadian Stage at Shakespeare in High Park - Toronto, ON - **** (out of 5 stars)
Written by William Shakespeare, Directed by Richard Rose
Runs until Sept. 2nd 2012

You're A Good Man Charlie Brown - Stratford Shakespeare Festival's Avon Theatre - Stratford, ON - *** (out of 5 stars)
Music, Lyrics and Book by Clark Gesner, Based on the comic strip "Peanuts" by Charles M. Shulz, Additional Music and Lyrics by Andrew Lippa, Additional Dialogue by Michael Mayer, Directed and Choreographed by Donna Feore
Runs until Oct. 28th 2012

The Pirates of Penzance - Stratford Shakespeare Festival's Avon Theatre - Stratford, ON - **1/2 (out of 5 stars)
Written by W.S. Gilbert and Arthur Sullivan, Directed by Ethan McSweeny
Runs until Oct. 27th 2012

Zapata! The Musical - New York Musical Festival - The Alice Griffin Jewel Box Theatre at The Pershing Square Signature Center - New York, NY - * (out of 5 stars)

Music by Peter Edwards, Book and Lyrics by Peter and Ada Edwards , Directed by Elizabeth Lucas

Runs until Jul. 29th 2012

Let's be honest here. Ol' Billy Shakespeare was probably on some kind of shrooms or magical berries when he wrote A Midsummer Night's Dream because I have NEVER really understood the story. Sure, there's the quartet of mixed up lovers and a king and a queen, but then add in an acting troupe doing their own thing, fairies, some kind of magical juice and a guy named Puck and I keep asking WHY? (which I know, I probably just shouldn't). I've seen numerous versions of the play between the stage and film, and I can still not recount what the actual story details are. To me, a measure of success for a Shakespeare play is one where the production is understandable, but I'm not even sure if this play has much to understand and maybe the point is just to enjoy in the magical whispy (crazy) delights of the fragmented scenes within this much beloved classic Shakespearean tale?

For the 30th Anniversary of Canadian Stage's Shakespeare in High Park, they're staging the ultimate outdoor summer classic, A Midsummer Night's Dream again. While I'm not sure I fully understand all of director Richard Rose's vision, and I'm not sure if that vision made Dream any clearer, I'm not sure it mattered with such a joyous cast that made for a delightful evening outside to see theatre under the stars.

Partly setting the play in the Ontario Muskoka's, with Dmitry Chepovetsky and Tamara Podemski's Theseus and Hippoltya arriving in a golf cart, all while Canadian Mounties move props around a mostly bare stage, it wonderfully lets the trees of High Park be the real setting for this Night's Dream.

Dmitry Chepovetsky and Tamara Podemski stand strong and confident again as Oberon and Titania with their usual commanding performances.

John Cleland is hysterical as Nick Bottom, now a real estate agent before he gets into trouble in the fairy world and turns into an ass. Cleland is surrounded by a wonderful "acting" troupe, with Pierre Simpson (from Toronto French Theatre) as the show's proper Quebecois "director" Pierre Le Coing, Mark Crawford (The Normal Heart), and Richard Lee (every other play in Toronto, including The Neverending Story and Other People) as Francis Filchenkov and Tom Chow, respectively, creating a little international troupe. They double as Peasebottom, Cobweb and Mustardseed in a very funny sequence using the voices of children. Cleland and Simpson are wonderfully amusing together (and terrific discoveries for me), while Crawford and Lee get good laughs in their scenes.

As for the lovers, Hermia's costume might seem a bit overkill in showing her stuck in an old-fashioned fatherly grip, but Sophia Kolinas nicely plays her lust for Lysander partly as an escape (with facial expressions in a later part of the play showing a deeper story behind her choices). Eric Morin (Altar Boyz) is wonderfully spirited and winning as the dude Lysander, a sort of rock n' roll dippy with rock solid abs who loves being in love. His interactions with Helena are particularly fun, especially when played by an exasperated power-walking Lululemon wearing Sarah Sherman who is wonderfully endearing and manages to make Shakespeare's words seem modern and fresh. All this happens while Helena yearns for Ali Momen's suited-up Demetrius, whose love for Hermia seems a bit too calculated, like a business transaction with Hermia's father.

Then there is Puck, who instigates much of the trouble in the fairy world, creating mischief, if only by accident, and giving Gil Garrett more room to have a playful romp on the stage, as he also did so joyously in The Game of Love and Chance.

While not everything quite worked for me in this production (or really, any production of Midsummer), having a cast that puts together some of Toronto's best actors, including Chepovetsky and Podemski, up-and-comers Lee, Crawford, Morin and discovering the joys of Sherman, Simpson and Cleland, helps overcome some of the vagaries of the story and interpretation. There are so many delightful moments from the strong cast, some clever interpretations from Rose, and some fun silliness perfect for a summer outdoor park theatre audience (including when the characters end up jumping off stage through the bushes) makes it a delightful summer night of Shakespeare theatre!



I’ve also seen The Pirates of Penzance before, but never in a professional manner. I’ve never fully remembered the story in previous school and community productions, but they’ve always been zany and full of timely jokes that I’ve always enjoyed it. I still can’t tell you what the exact story is, other than some shenanigans and mix-ups with some pirates, but I never thought that was much the point of a Gilbert & Sullivan operetta.

Unfortunately, Stratford’s current revival of The Pirates of Penzance is played pretty straight laced, with a framing device of a play within the operetta that doesn’t seem to add much to the proceedings. There’s some lovely singing from the Stratford cast, and a standout leading performance by Kyle Blair (A Man of No Importance) but with the exception of an aside that explains the history of Stratford leadership, the updated quips and jokes were kept at a minimum. I know it’s not necessary, and Gilbert & Sullivan’s piece should stand on its on even when played straight, but I found this production lacking some zip and didn’t quite seem to feel cohesive enough. There’s an additional straightforward framing device that sets this Pirates as a play within a play, but it felt like an unnecessary layer that didn’t add much to the enjoyment of Gilbert & Sullivan’s piece and did not add much needed energy to the show.

Meanwhile, I had never seen You're A Good Man Charlie Brown, the Broadway musical based on Charles Schulz's Peanut characters, but I had heard the revival cast recording and knew it that it had a problematic book that had been reworked for the last Broadway revival (making stars out of Kristin Chenoweth and Roger Bart and earning them Tony Awards). Stratford has also courted some criticism for showcasing this family friendly (and highly unShakesperean show) in its lineup this season, but I think it is great that the reputable theatre company is taking on a "kids" show, and I don't have a problem with the show choice at least. While Stratford adheres to the revised version (which has many critics), the show is basically a hodgepodge of random sketches of Charlie Brown and the Peanuts gang, with less of the adult psychology of the strip and more of the commercial cuteness sold in stores.

The Stratford's You're A Good Man Charlie Brown misses the mark in the deeper levels that adults could truly identify with in the comic strips, but leads Ken James Stewart (who was so hilarious in a small part in Shaw Festival's The President) and Erika Peck (the best parts of We Will Rock You and The Boys in the Photograph) are total delights as Charlie Brown and Lucy, respectively, and carry the show enough to be a cute and charming little show. 

Amy Wallis, (also in Pirates) makes a nice little mark here on Sally (the role that won Kristin Chenoweth her first Tony) but Stephen Patterson doesn't make the Snoopy role quite as endearing as you would imagine it, and is not helped by his costume.

The overall colour scheme is bright and bold (and probably giving the usual Stratford crowd seizures) but while I'm not against an aggressively cartoonish set (since, you know, it's based on a cartoon), I do wish they stuck to the Sunday morning cartoon print colours that the strip would use, instead of the bright fluorescent hues that frame a projection screen that doesn't seem to be used to its potential.

Still, it's the fragmented scenes that will either bother you, or you'll accept in the way the musical is built, and while the cast won me over, you have to enjoy it as if you're reading Charlie Brown one panel at a time.

But if Charlie Brown doesn't quite match the double meaning cleverness of Shulz's originals, NYMF entry Zapata! The Musical seems to entirely miss its mark on the tone of a musical that wants to mix the lessons learned by Mexican revolutionary fighter Emiliano Zapata and how the Occupy Wall Street movement should be fought. When the rock'nroll bass riffs during the opening Occupy Wall Street scene, and it is played out completely straight, you realize that the show, which sounded ripe for a satirical spin, is being played in an all serious and earnest tone. As the show then abruptly takes us back to the Mexican revolution, the show that has all the right intentions, goes seriously wrong when it begins to feel like a museum diorama and the show becomes a series of straight forward history lesson scenes, tied together with some Mexican music, dancing, and very earnest expository dialogue. 

The talented cast is done no favours with a poor sound design (which in a rotating showcase like NYMF is excusable) and Andrew Call (American Idiot) and Enrique Acevedo do what they can to lead the show, but the textbook history lesson dampens the dramatics of Zapata's story and almost makes much of the real-life tragedy seem laughable. I applaud the effort and the message the authors are trying to get across, but the serious issues and facts at hand seem diminished in the production in its current state.

The Pirates of Penzance photo by Cylla von Tiedemann
Vance at http://tapeworthy.blogspot.com

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Mile High Expectations - Pam Ann & Noises Off - Comedy Reviews

Pam Ann: Around the World - Panasonic Theatre - Toronto, ON - **** (out of 5 stars)
Runs in Toronto until June 23rd 2012. Tour continues to Provincetown, MA and Australia

Noises Off - The Old Vic at Novello Theatre - London, UK - **1/2 (out of 5 stars)
Written by Michael Frayn, Directed by Lindsay Posner
Runs until June 30th 2012

Is comedy all about expectations? Being surprised or shocked by the punchline, by a pratfall, by an unexpected look that we have to laugh? Sometimes we'll even laugh at something totally expected, something that has been building up that we all know is coming, with the set up as part of the delight in the joke.

What if those expectations have been elevated by all the buzz before the show? Where reviews have showered a show with praise for its comedic prowess, or when friends tell you that you MUST see this because it's HILARIOUS? Only to watch it yourself and wonder, where's the funny?

I've heard about the play Noises Off for a long time, but I've never actually seen or read it, until I finally got a chance to finally see a much lauded production by The Old Vic when I was on a layover in London this week. During the flight, all the staff were talking about seeing Pam Ann (And if you don't know me, you may not have realized that I am part of that airline staff, and how I get around the world so much!). I've heard about Pam Ann for years from friends and colleagues but managed to never even see a youtube video, but alas, she's in Toronto for 3 nights with her latest tour, just in time to kick off Pride Week here and I got a chance to hop on board.

                

So expectations were high for Pam Ann, the alter ego of Australian comedian Caroline Reid, a (horny, although that's a bit redundant) flight attendant in a class of her own. If you thought the flight attendants were bitchy on your flight, wait until you meet Pam Ann! She's vulgar, foulmouthed, and offensive. Basically, she's everything we wish we could be when we're in the air!

Throwing in some local news events from the day, Pam Ann manages to mix in improvised (or quickly written jokes) into her larger comedy act that is basically a drag queen show without the actual drag, doing a comedy set, all while pushing a bar cart in a tight uniform. And boy does she serve it up. No one goes un-skewered, as she spits out hysterical, if extremely politically incorrect zingers about every ethnicity, every class, and every airline. And girl has done her research, as she equally knocks down each and every Canadian airline she can think of, getting hoots and hollers as an airline industry heavy audience recognizes the stereotypes Pam Ann bitingly chews through. Air Canada, West Jet, Porter, Air Transat, Jazz, Sunwing. Every airline gets bitchslapped while Pam Ann adds in stories of British Airways, Austrian, Lufthansa, Delta and more. She's nailed the eccentricities of the passengers, and the particularities of each airline.

                         

Maybe it's because I work in the industry, but I was in tears laughing, as everything Pam Ann said seemed to nail it right on the head. But I imagine anybody who has worked in a service industry, anybody who has flown on a plane, anybody who has stepped foot in an airport, will get what Pam Ann is making fun of. Because who hasn't been stuck in economy and tried to sneak a peak up to first class?

                 

The Old Vic's production of Frayn's classic stage comedy Noises Off received glowing reviews in its original run, and thus transfered to the West End. I managed to catch Noises Off for my first experience with the play, which was met with tiny grins and smiles but little laughter. Even the Guardian wrote about elevated expectations from critics, though when I went to see the show, even most fellow audience members around me seemed to remain relatively quiet. Maybe it's because I was up top in the balcony looking down at the top of the actors heads, not being able to see the subtleties in their facial features, but from what I could gather, this is not a play of subtleties.

                  

The cast seemed good, with no one seemingly awful, though no one seemingly stood out either (which may be a good thing in an ensemble comedy anyways). The direction seemed fine, and I couldn't really object to the timing. Frayn's play about the final rehearsal and then the backstage antics of a play, one with lots of slamming doors and mistaken identities, had all the classic comedy set ups in place, but with the entire first act being a rehearsal of the silly play within the play, it made for a very long set up to the actual "noises off" portion in the second act. The build up and the payoff never seemed to reach the level of zany hysterics I had heard about, and while it made me smile, I never laughed out loud once, and found it overall underwhelming. I laughed far more in The Sunshine Boys (a play essentially about retirement) around the block at the Savoy, or even at the recent revival of Don't Dress for Dinner on Broadway (which incidentally, reminded me of the play within Noises Off). By the time the action on stage had reached a full zany zenith (based on the amount of running around by the cast), it had been so long awaited, the punchline had already flatlined by then.


Photo of Noises Off by Tristram Kenton
Vance at http://tapeworthy.blogspot.com

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Gotta Dance - Chroma and Singin' in the Rain - Dance Reviews

Chroma & Song of a Wayfarer & Elite Syncopations - National Ballet of Canada at Four Seasons Centre for the Performing Arts - Toronto, ON - **** (avg. out of 5 stars)
Chroma - Choreographed by Wayne McGregor, Music by Joby Talbot and Jack White III - ****1/2
Song of a Wayfarer - Choreographed by Maurice Béjart, Music by Gustav Mahler - ****1/2
Elite Syncopations - Choreographed by Sir Kenneth MacMillan, Music by Scott Joplin and Others - ***1/2
Runs until June 17th 2012 

Singin' in the Rain - Palace Theatre - London, UK - **** (out of 5 stars)
Songs by Nacio Herb Brown and Arthur Freed, Based on the MGM film with screenplay by Betty Comden and Adolph Green, Directed by Jonathan Church, Choreographed by Andrew Wright 

Chroma returns only two years after its National Ballet of Canada debut, but since I missed it the first time, this quick turnaround programming seems like it's made for me (thank you Karen Kain!)! Put together with two other short classics (that I also had not seen yet, thank you AGAIN Karen Kain!), and the night was a further stellar example of the quality within the NBofC's company of dancers, showing off both the Principal stars they have, as well as some of they future stars they have within their Corps. 

Elite Syncopations opens the night on a bare stage with backstage in full view, a band already there on stage ready to rag, and some chairs on the side. I guess Chicago's revival got their stage inspiration from this? Dancers perform as if it were an audition, as couples and groups come out to showcase their stuff. I guess A Chorus Line got their inspiration from this 1974 piece? The music by Scott Joplin or other ragtime music sets a different beat for the dancers that choreographer MacMillan used to form quirky and whimsical movements. The dancing is fun and with the audition framing device, we get to see different dancers showcase their humourous side within their dance skills. 

But it's the costumes that set this piece apart from anything I've seen in ballet so far. With skintight painted spandex by Ian Spurling, it looks straight out of a 70's costume party on acid, and it adds a LSD-induced haze over the proceedings, giving Elite Syncopations a fascinating nostalgic, historical context that makes the whimsical dancing and tone a lot more fun to watch.

The company looks like they're having a lot of fun with this comical ballet, with McGee Maddox offering another buff and slightly pompous suitor to Xiao Nan Yu's elegant, but sly vixen. Both are at the top of their games, with exceptional precision in such a fluid and fancy-free choreography. Jordana Daumec divas it up with a sensational rag dance, while Brett van Sickle is a gem that I haven't seen in a while, and glad that I've gotten to see him again. Christopher Stalzer proves why he just got promoted out of the Corps, and is absolutely smashing with Adji Cissoko in their pairing.

Song of a Wayfarer on the other hand, is a showcase for just two dancers. On opening night, Principals Zdenek Konvalina and Guillaume Côté shows us why they're Principals. I don't think I've ever seen Konvalina be better, in a role that he seems built for. A mix of intensity and internal struggle with a physically exhausting choregraphy by Maurice Béjart. As Konvalina's shaddow of sorts, Côté's leading man persona makes a surprisingly haunting body double, haunting Konvalina as Côté himself moves about in equal precision and demanding movements. It's quite a sight to behold, as the two leading men go in philosophical search, all to Mahler's beautiful music, sung by Peter Barrett.

Chroma opens with a stark white set, with rounded corners, a slit for light, and an open frame in the back, and even in its modern simplicity, exudes gasps from the audiences. With music by The White Stripes, Wayne McGregor has created another one of those crazy weird modern pieces that I have no idea what it's trying to say, but damn if it doesn't look exciting, amazing and emotionally gripping. With simple short "dresses" worn by its cast of 10 (6 Men, 4 Women) by Moritz Junge, Chroma is often strange, always thrilling, and while it isn't as emotionally gripping as some other modern pieces I have loved (like Crystal Pite's Emergence, returning next season!), the dancing and movement is superb and again, another perfect showcase to the talented dancers of the company. 

With a mix from the whole company, Principals Aleksandar Antonijevic, Greta Hodgkinson, Sonia Rodriguez and Zdenek Konvalina are magnificent. Antonijevic, Rodriguez and Hodgkinson seem to relish this opportunity with McGregor's movements and intermix as part of the ensemble. Elena Lobsonova continues her track to stardom, while Tina Pereira and Jonathan Renna are superb as always. 

Then there is a moment when Corps members Dylan Tedaldi, Brendan Saye, and Second Soloist Robert Stephen are dancing together and the excitement on stage is exactly what the future of National Ballet of Canada is about. Thrilling to see the amazing future ahead for the young members of the company and what the sensational work they are already displaying right now.

Over in London, England, a Chichester Festival transfer of Singin' in the Rain has just opened at the Palace Theatre and is taking the West End by storm. Or more like light rain. And sometimes light is a good thing. This revival of the stage adaptation of the famed film is delightfully light and frothy and just the sort of nostalgic entertainment sometimes one needs on a ... rainy day. 

While the production is somewhat uneven, its delights easily wash away the flaws, especially with some spectacular dancing sequences including "Make 'em Laugh" and title song "Singin' in the Rain", done in full rain effect with lead Adam Cooper's Don Lockwood splish splashing in the pool of water gathered on stage and kicking it out into the audience. 

Adam Cooper, who I know as the older Billy Elliot (in the final sequence of the film) and lead in Matthew Bourne's Swan Lake, is a terrific lead with vocal chops that match his amazing dance skills. Paired up with Daniel Crossley's Cosmo Brown, the duo form a wonderful bromance on stage and forms the heart of the show. Crossley tends to overplay and oversell the lines here and yet it seems to work perfectly for his Cosmo of that era, and makes his performance highly entertaining and lovable. His maneuvering through "Make 'em Laugh" is incredible to see, live, on stage, and Crossley crackles every time he's on stage. 

Katherine Kingsley crackles and cackles on stage too, but as the annoying Lina Lemont. But with Kingsley in the role, Lina is deliciously awful and sinfully wonderful. A nemesis we adore and adore to hate, with Kingsley squeeing and squawking each line to full comedic effect. 

Scarlett Strallen has a wonderous voice that soars in the shows classic Hollywood musical songs of yesteryears. She's a bit too winsome at times, but ultimately Strallen is a doll.

The show could cut and smooth over bits and pieces here and there, with some moments stretching on just a tad too long, but as soon as any dance number starts, the terrific dance ensemble brightens up the stage (cleverly designed by Simon Higlett). Definitely a show that can easily brighten up your rainy day.



Photos of Chroma (with Antonijevic and Rodriguez) and Elite Syncopations by Bruce Zinger. Photos of Chroma (with Stephen and Pereira) and Songs of a Wayfarer by Cylla von Tiedmann
Photos of Singin' in the Rain by Manuel Harlan 
Vance at http://tapeworthy.blogspot.com

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Tonys Catch-Up - Nice Work, Porgy & Bess, End of the Rainbow, The Best Man, Starcatcher, Wit, Master Class, The Columnist - Theatre Reviews

Nice Work If You Can Get It - Imperial Theatre - Broadway - New York City, NY - **1/2 (out of 5 stars)
Book and Lyrics by George and Ira Gershwin, Book by Joe DiPietro inspired by material by Guy Bolton and P.J. Wodehouse
Directed and Choreographed by Kathleen Marshall

The Gershwins' Porgy & Bess - Richard Rogers Theatre - Broadway - New York City, NY - **1/2 (out of 5 stars)
Music by George Gershwin, Lyrics by Ira Gershwin, Dubose and Dorothy Heyward, Libretto by Dubose and Dorthy Heyward, Musical Book Adapted by Suzan Lori-Parks, Musical Score Adapted by Diedre L. Murray
Directed by Diane Paulus, Choreographed by Ronald K. Brown

End of the Rainbow - Belasco Theatre - Broadway - New York City, NY - *1/2 (out of 5 stars)
Written by Peter Quilter, Directed by Terry Johnson

Gore Vidal's The Best Man - Schoenfeld Theatre - Broadway - New York City, NY - *** (out of 5 stars)
Written by Gore Vidal, Directed by Michael Wilson

Peter and the Starcatcher - Brooks Atkinson Theatre - Broadway - New York City, NY - *** (out of 5 stars)
Written by Rick Elice, based on the book by Dave Barry and Ridley Pearson, Directed by Roger Rees and Alex Timbers

Master Class - Manhattan Theater Club at Samuel J. Friedman Theatre - Broadway - New York City, NY - *** (out of 5 stars) Written by Terrence McNally, Directed by Stephen Wadsworth Ended run in Summer 2011, 

Wit - Manhattan Theater Club at Samuel J. Friedman Theatre - Broadway - New York City, NY - **** (out of 5 stars)

Written by Margaret Edson, Directed by Lynne Meadows

Ended run March 17th 2012

The Columnist - Manhattan Theater Club at Samuel J. Friedman Theatre - Broadway - New York City, NY - **1/2 (out of 5 stars)

Written by David Auburn, Directed by Daniel Sullivan

Runs until July 8th 2012

So I've been a bit tardy on my blogging and reviews, but with this weekend's Tony Awards coming up, I thought I'd catch up with some thoughts of shows up for awards this season that I didn't already mention in my Best of Stage 2011 write up (incl Once, Venus in Fur, Jesus Christ Superstar while at Stratford), or in previous reviews (click for Other Desert Cities, Leap of Faith, One Man Two Guvnors). I also saw Newsies at Paper Mill (very fun 3.5 stars, but waiting to see it on Broadway before I review), Clybourne Park (4 stars, 3rd time seeing play, 1st with this cast and production, Great play, least effective cast I've seen. Some standouts performances but also one of the worst performances that takes the whole play down a level), Lysistrata Jones (2 stars, an unfunny disappointment), Bonnie & Clyde (2 stars, a boring mess with a great cast), Follies (4 stars, a grand production where I thought Jan Maxwell stole the show), The Lyons Off-Broadway at Vineyard (4 stars, Linda Lavin flips pages amazingly in a play that is entertaining until an out-of-nowhere 2nd act scene that takes Michael Esper and the play to another level), Don't Dress for Dinner (3 stars, which isn't as funny as One Man Two Guvnors but didn't deserve its critical whiplashing, especially since Spencer Kayden and Ben Daniels are very cute and funny in it), Stick Fly (3.5 stars, an entertaining play about a rich BLACK family and the fact that they too, like rich White families, have problems too), and Death of a Salesman  (4.5 stars, a possibly biased review (since my involvement) but a must-see production with an astounding cast (every single one of them down to the smallest roles) in a heartbreaking production of the classic play). I'm saving my review of Ghost for another time. It needs further explanation.


Nice Work If You Can Get It is the "new" Gershwin musical Tony nominee Joe DiPietro (Memphis) has cobbled together with some of the greatest musical theatre songs (by the Gershwins) and strung together by a threadbare story of a bootlegger forced to hide her loot in a playboy's summer house during the Prohibition era. Throw in the clout of Broadway star Kelli O'Hara as the bootlegger and the marquee name of Matthew Broderick as the playboy under Tony nominee Kathleen Marshall's (Anything Goes) direction and dance steps, and you've got yourself a new hit. Deservedly or not.

The story is ridiculous in that old-timey musical way, so it can be partly forgiven, assuming you can stay awake in the horrendous first act (1 star for Act 1), yet strangely, by the second act, once you've relegated that there is little originality in this "new" musical, the laboured set up DiPietro clunkily set up, finally pays off when a true spirit of musical zaniness hits its stride (3.5 star for Act 2). All despite Kathleen Marshall's lazy choreography (one of her worst, that seems catered to their worst dancer, Broderick), poor-man's casting (Tony nominee Michael McGrath as Nathan Lane, Robin Hurder as Megan Hilty), and Matthew Broderick acting in a completely different show planet (which, to be honest, was entertaining in its own way, just didn't legitimize the show itself).

On the other hand, Tony nominee Kelli O'Hara (South Pacific) glows as always, even as a tomboyish bootlegger, and is sexy as hell singing beautiful Gershwin songs in completely wrong contexts. Estelle Parsons (August: Osage County) is a total hoot in her 10 seconds on stage, Tony nominee Judy Kaye (Mamma Mia) swings on a chandelier, while Jennifer Laura Thompson (Little Miss Sunshine, Urinetown) works (the laughs off) a wedding dress.

Just beside the Imperial where Nice Work is running, sits The Gershwins' Porgy & Bess at the Richard Rogers Theatre, in a new re-working of the opera by THE Gershwins and Debuse and Dorothy Heyward. While I've never seen the opera, I was excited to see Tony nominee (and 4 time winner) Audra McDonald sing the sh!t out of these songs. And she does. And other than fellow Tony nominee Philip Boykin, that's about all I remember (I saw it back in January but even after the show, that's pretty much all I remember).

While I'm not against making changes to classics, and would been on Team Diane and Suzi after Stephen Sondheim jumped on them, I can't say I loved this truncated version of Porgy & Bess, as totally missed the point of the story. Although to note, Norm Lewis was out my night, and while understudy Nathaniel Stampley seemed to do a fine job, he just seemed to overpowered by Audra's powerhouse performance, making her affair with Boynkin's Crown the heart of the story. David Alan Grier was a welcome surprise (who knew he could sing that well), but the ensemble and Porgy seemed to fade into the background against MacDonald and Boynkin. Maybe I would have liked the show more if it more accurately called The Gershwins' Crown & Audra MacDonald's Bess.

End of the Rainbow is Tracie Bennett's production (well not really but it's basically hers) to showcase her amazing impersonation of Judy Garland. She sings, she acts drunk, she cries at her drunken state, she gets depressed and breaks down. Let's give her an award! Just like they do at the Oscars and Emmys! Bennett's Tony nominated performance really is an impressive powerhouse performance (you know, cause she sings AND breaks down), but while it seems to accurately portray Garland, I still felt no empathy or emotional resonance behind the act.

Part of that problem is Peter Quilter's play, which really is an empty vessel that takes a small glimpse into Garland's later life as she's falling apart and rolling around on the ground peeing like a dog (an actual scene in the play). We're supposed to be seeing Garland's dramatic downfall and some of the most salacious events in her life, and yet the play was SO BORING. Michael Cumpsty was good as Garland's piano accompanist. There was music. She sings "Over the Rainbow". She might win the Tony for this. I would vote for Nina Arianda in Venus in Fur instead.

Gore Vidal's The Best Man stars everyone. I give it 3 stars. Good political play. Some nice lines. Nothing spectacular. Nothing revolutionary. Straightforward direction. Fun plot about the race for the democratic spot for presidency. Sure, not The Best play but entertaining.

What we're really here to see is the CAST. James Earl Jones, Michael McKean, Eric McCormack, Kerry Butler, Angela Lansbury, Candice Bergen, Jefferson Mays, John Larroquette, The Kitchen Sink (apologies to SarahB). What a cast! Does everyone get their own dressing room? Is there even enough room backstage?

James Earl Jones is terrific as the current President. He's so good that we don't even question a Black President in America in the 20th century. It's James Earl F#$KING Jones! And he lights up the stage, bounces about and delicately presses in some zingers like a pro. Angela Lansbury doesn't quite bounce across the stage anymore, sitting most of the time, but like the pro that she is, she too knows how to milk a line, a laugh, or a pointed zinger, and manages to turn a staring role from her few minutes on stage (in what essentially is a cameo, though still longer than Estelle Parsons in Nice Work).

Eric McCormack and John Laroquette as opponents in this political race are fine, and Michael McKean is good in his minor role, though partially upstaged by Corey Brill who seems to have a larger part. Jefferson Mays does sweaty well, but seems to be over-characterizing a pivotal role.

And did Candice Bergen and Kerry Butler take the play called The Best Man too much to heart? The usually terrific Butler seemed to be playing Clio/Kira from Xanadu again. While Candice Bergen (who sadly had a stroke a few years ago and says her memory is not quite the same) seems to float through the play.

Peter and the Starcatcher, the prequel to Peter Pan, is an overly clever and innovative production, with movement by Steven Hoggett (nominated for Once), and music by Tony nominee Wayne Barker, that utilizes a mostly bare (yet strikingly beautiful) set by Tony nominee Donyale Werle, telling the tale originally written by Dave Barry and Ridley Pearson for Disney Books.

Having never read the book the play is based on, I was surprised at how dark and complicated the story (which seems to be marketed to the young) was, with some overstuffed and overdirected beginning that is hard to latch onto. The play drags as it tries to both tell the tale, be modern and clever, all while using the most simple theatrical tricks, while utilizing its medium sized frenetically energetic cast in multiple roles.

Once things start to calm down, the play becomes far more enjoyable as we're allowed to sink into the wildly imaginative tale and hold onto the terrific performances, and the clever use of a rope as the set. Tony nominee (and Smash star) Christian Borle, in a 180 performance from last year's Angels in Amerca, fully envelops his role again, this time as Black Stasche, a pre-hooked Captain Hook, in all his over-the-top glory.

Celia Keenan-Bolger is truly winning and lovely as Molly, and her chemistry with the boys, and lead Boy Adam Chanler-Berat, gives the play its ultimate charm.

Unfortunately I found the ultimate story a little waning as things started to slide far too conveniently into Peter Pan place. The story didn't seem as clever as the production lends itself to be, but a terrific ensemble (including a hilarious Arnie Burton), a stellar leading cast, and a cool production (when it calms itself down a bit) still keeps things entertaining enough.


Manhattan Theater Club has had a pretty great run at the Friedman Theatre. The American Plan, The Royal Family, Time Stands Still, Venus in Fur. I've never really had a bad time there. This past season saw Venus in Fur make a commercial transfer, while revivals of Master Class and Wit garnered acclaim for their lead actresses. 

Tyne Daly was terrific as Maria Calas in the revival of Master Class but the play (which I had never seen) had some beautiful moments and hilarious lines, but felt more like something one must learn and respect in school than something I can love on my own. Alexandra Silber and Garrett Sorenson stood out over Sierra Boggess (The Little Mermaid) as students.

In another play about a teacher who lords over her students, Tony nominee Cynthia Nixon brought an emotionally walloping performance in Wit in a terrific revival (in which I had only ever seen the HBO film) that excised any thought of Nixon's famed character Miranda. A great ensemble created a solid production, but this was all Nixon as her Vivian starts off strong and crackling and slowly cracks until her final demise. Stunning and my alternative pick to Arianda for Best Actress this year.

The Columnist  gives Tony nominee John Lithgow a platform for a terrific performance as journalist Joseph Alsop. I only wish the play were as strong as the performance, with a muddled first act giving no direction into where it eventually truly shines in a stronger second act, when only SOME random scenes from Act 1 finally comes together. Brian J. Smith (Gossip Girl) gives a surprisingly good performance, while Boyd Gaines is strong in a weak role. Margaret Colin was out my day, and the understudy was fine against Lithgow but unmemorable.


Vance at http://tapeworthy.blogspot.com

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The Comfort with Strangers - Xanadu, The Music Man, Leap of Faith - Musical Reviews

Xanadu - The Max at Signature Theatre - Arlington, VA (Greater Washington D.C.) - **** (out of 5 stars)
Music and Lyrics by Jeff Lynne & John Farrar, Book by Douglas Carter Beane, based on the film.
Directed and Choreographed by Matthew Gardiner
Runs until July 1st 2012

The Music Man - Finchlander Theatre at Arena Stage - Washington, D.C. - **** (out of 5 stars)
Book, Music and Lyrics by Meredith Wilson, Story by Meredith Wilson and Franklin Lacey
Directed by Molly Smith, Choreographed by Parker Esse
Runs until July 22nd 2012

Leap of Faith - St. James Theatre - Broadway, New York City, NY - *** (out of 5 stars)
Music by Alan Menken, Lyrics by Glenn Slater, Book by Janus Cercone and Warren Leight based on the film.
Directed by Christopher Ashley, Choreographed by Sergio Trujillo
Now closed.

A stranger comes into town, tries to sell them on a dream, stirs things up, and inadvertently makes things better. (If only 110 in the Shade were still running somewhere). A con-man stops off in River City, a con-man gets stuck in the Kansas city town of Sweetwater, Greek muse comes down to Venice Beach, all to sell them on a dream. A dream of kids playing in a marching band, dreams of miracles and rain during a drought, dreams of creating art in 1980's LA.

Xanadu is possibly one of the most ridiculous musicals ever to make it to Broadway. Its light, featherweight story is based on, apparently, one of the worst films in film history. Yet, with a soundtrack that became a hit for Olivia Newton John and Electric Light Music Orchestra, the musical adaptation by Douglas Carter Beane uses its catchy and famed songs and flips the weak story and turns it into the musicals biggest strengths.

With a giant wink and purposeful camp amped up for the stage, Beane and a proper director, here, Matthew Gardiner taking charge, must let the story soar in its silliness, letting us in on the purposeful badness. A story of a Greek muse coming to 1980's LA to help a young troubled dude help achieve his dream of complete artistic achievement; opening a roller disco. Adding to that, Beane throws an extra wink, making the Greek muse Clio take on an Australian persona on earth (ahem, Olivia anyone?) with the name Kira, as she must inspire Sonny Malone, all while two evil sisters try to derail her efforts, all while Sonny and Kira fall into a forbidden love. Oh yah, and on top of that, Kira is on roller skates.

The Signature Theatre cast takes the goofy musical and has a (disco) ball with it. Actually, many disco balls with it, and Erin Weaver (an actress apparently known for serious roles in dramas) is pitch perfectly ludicrous as Clio/Kira. Weaver hits the right comedic notes in a cute and lovely way, and all while her strong voice sings classics "Magic", "Suddenly", "I'm Alive", and "Xanadu".

Charlie Brady is awesome as the dopey but lovable Sonny Malone, a short-shorts wearing Californian dude who just wants to create art while rocking out. Brady is easily lovable and fills in those short-shorts nicely, with a voice that is as muscular as his arms.

Ayanna Hardy (replacing Nova Y. Payton in my performance) and Sherri L. Edelen (Hairspray, Walter Cronkite is Dead) seem to have a ball as the evil sisters, while Harry A. Winter (also Hairspray and numerous other Signature roles) gives a full and lovely performance as Danny Maguire, an older gentleman who fondly remembers a muse-like Goddess whom he fell in love with in his youth. Mark Chandler, Jamie Eacker, and Nickolas Vaughan are delightfully silly as fellow muses, while Kellee Knighten Hought sounds godly in a solo moment during all the absurdity.

The Music Man is the classic that I've never actually seen, but one so famous that it's hard not to know the story of a Prof. Harold Hill who blows into town, selling the people on dreams of a marching band for the kids, while whipping up the creative juices in the older folks, all in an attempt to take their money as they purchase "useless" things from the traveling salesman. Meanwhile, a stubborn librarian Marion, refuses to buy into the con until of course, she does, convinced by the new confidence in her much younger brother with a lisp. Love ensues, hijinks happen, kids dance, the truth comes out, before a nice tidy ending

To be honest, as my first time seeing the full show and watching the scenes that fills the gaps in between the famous moments, I found some slow moments (particularly in the first act) and an ending that works wonderfully as a story but disappointing as a musical, when the show pretty much ends abruptly after the final punchline. We are left with a final feeling of love, acceptance and hope, a perfect moment for a final rousing musical number, and then the bows begin and The Music Man as a musical just misses the mark of perfection.

Luckily, Arena Stage's Artistic Director Molly Smith has assembled and directed a creatively satisfying and delightful production of The Music Man. With Choreographer Parker Esse by her side, whipping up an amazing set of steps, the top notch ensemble performs the most thrilling group dance numbers with a glorious sounding chorale that just seems to explode out from the tiny Finchlander stage and reverberated back in an acoustic dream. Just like Arena Stage's revelatory Oklahoma!, Price and Esse have used the small in-the-round stage to bring a wonderful full-bodied experience with some of the best dancing and singing one could hope for in musical theatre.

The backbone of the show lies in Marion the Librarian, and with Kate Baldwin (Finian's Rainbow, She Loves Me, White Christmas) cast, she automatically brings an astounding and clear voice, a classy and loveliness perfect for the role that makes Marion avoid seemingly bitter or harsh while still sitting outside of the lines, staying cynical on the new con-man in town. Baldwin also brings an audience, helping Arena Stage sell out most of the performances already, and for someone who isn't a movie or even TV star, that's quite a testament to Baldwin's presence and musical talents.

Playing opposite to Marion, suave con-man Prof. Harold Hill is filled by Burke Moses (The Sound of Music, Beauty and the Beast) who I saw (way-back when) originating Gaston, and he still carries that aura of ego, sneakiness and charm that pretty much helps fill Hill's shoes. While his scenes with Baldwin feel a bit cold (which, I know is part of the story and maybe the inherent problems with our expectations in a musical), and feel a bit flat compared to his scenes with the larger cast, Moses' voice is still full and strong and his rapport with the townsfolks and teenage kids is wonderful and convincing.

The strong ensemble has too many great performances to all name, but Will Burton (above centre) and Juliane Godfrey make tremendous Arena Stage debuts as the young couple Tommy and Zaneeta. Donna Migliaccio (Ragtime) is lovely as Mrs. Paroo, Marion's mother, and Ian Berlin is absolutely adorable as the stuttering Winthrop Paroo, Marion's much younger brother. Barbara Tirrell (below, centre) is particularly hilarious as the Mayor's wife Eulalie Mackenzie Shinn.

As Arena Stage did with Oklahoma!, they've fully enveloped the Finchlander with lighter yellowed tones with muted colours that automatically generate a nostalgic feel, with beautiful set designs by Eugene Lee and coordinated with Judith Bowden's costumes, and lighted by Dawn Chiang. And as with Oklahoma!, the small theatre seemed to only amplify the glorious sounds from the cast and orchestra, with a sound design by Timothy M. Thompson that deserves a special mention.

While it's not as revelatory as their Oklahoma!, Arena's The Music Man is still a splendid solid production with such a joyous cast that I was ready to join the band and step right into those red marching uniforms!

Leap of Faith has already closed on Broadway after a brief run at the St. James Theatre. I first saw the new musical in Los Angeles, where, while flawed, showed lots of promise, especially with a wonderful and strong second act that brings down the house with emotionally moving tunes by Alan Menken and a showcase for an amazing cast of Raúl Esparza, Kecia Lewis-Evans, Krystal Joy Brown, Leslie Odom Jr., Kendra Kassenbaum, and Nicolas Barasch got to show off their vocal and emotional power in some powerhouse songs. Originally directed and choreographed by Rob Ashford, the show had a beautiful lyrical feel with golden tones and lyrical ballet choreographed sequences that smoothed out the sequences to tell the story of a con-man, along with a crew, try to con a struggling town from all their money with promises of rain during a drought, and heavenly miracles straight from God. The L.A. production also had headliner Brooke Shields who brought an automatic warmth to the role of the cynical townsperson who doubts the con-man (Sound familiar? It really IS The Music Man without the marching band uniforms and adding in 110 in the Shade's hope for rain).

The L.A. production had major problems (particularly an unfocused first act) and many didn't like Rob Ashford's lyrical over-choreographed tendencies, but it had hope and I had faith that it could become a very strong and well-loved musical. The major glaring problem though was Brooke Shield's singing voice. As lovely as she was in her acting, her voice seemed particularly weak and strained when up next to Raúl Esparza's while singing Menken's vocally challenging songs.

So on the way to Broadway, they ditched star Brooke, filled her role with a barely known Broadway actor (yay! quality over fame, right?), fiddled with the book, the songs, the characters, and replaced the director/choreographer in a bid to fix the show for the better. With Christopher Ashley (Xanadu Broadway) now helming the project and Sergio Trujillo (Jersey Boys, Next to Normal), new sets, and the amazing cast back in their roles (minus Nicholas Barasch because he grew up out of the young tween role during the transfer), the new Leap of Faith musical (based on the Steve Martin movie no one I know ever saw) was on its way to Broadway success.

Then the new version opened and whatever elements they had fixed, only made things that originally worked, worse. Characters were streamlined, combining the female love-interest and the Sheriff role into one, but it gave the lead female role an even harder edge to overcome, and not softened by Jessica Phillips (Priscilla) in the role. Songs seemed butchered, with one of my favorite songs "When Your Faith Is Strong Enough" cut in half right when it should have been building momentum into the song and into the climax of the story. New songs were added that could have been cut right away, and characters felt even less developed than before as the creative team added a useless church revival framing device (to frame a story about a church-revival huckster) and soliloquies to the audience that gained no sympathy for the already sleazy characters. Trujillo's choreography repeated his Jersey Boys work that felt detached from Menken's music, while Ashley's direction, the ugly new sets and overall feel to the revised show made it feel cold and soulless. Even Esparza felt dispirited, giving his usual vocal power but phoning in his passion. A total amiss especially during "Jonas' Soliloquy", a beautiful breakdown 11-o'clock number that could have (finally) locked his Tony Award.

The worst part is that I KNOW there is a great show within and in the fiddling, the new creative team only made things worse, not letting Menken's beautiful score breathing room in this revised version of The Music Man, that I thought still worked in its L.A. run (even with the clunky first act). Alas, the show now enters the Tony race as one of the shortest runs for a Best Musical nominated show which it basically got because the nominators disliked the other new musicals even MORE. Still, despite its numerous problems, seeing Lewis-Evans, Brown, Kassenbaum, and Odom Jr. tear apart "Are You On the Bus", or hearing the cast sing the title song "Leap of Faith", still brings me a joy that cannot be explained, and I jump right back on the bus.


Xanadu photos by Scott Suchman 
The Music Man and Leap of Faith photos by Joan Marcus 
Vance at http://tapeworthy.blogspot.com

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