Redwood (Nederlander Theatre)

By Harry Forbes

Idina Menzel fans certainly get their money’s worth in this tailor made musical conceived by the lady herself in tandem with director Tina Landau. The star vehicle, which started out at the La Jolla Playhouse last year, tells the tale of Jesse, an unhappy art gallery owner who, grieving the death of her adult son (Zachary Noah Piser),  leaves her photographer wife Mel (De’Adre Aziza), and drives out to California where she ultimately finds redemption and peace of mind among the majestic Redwood trees. 

When she gets there, botanists Finn (Michael Park) and Becca (Khaila Wilcoxon) come upon Jesse sleeping al fresco in the woods and, though they insist she leave by morning, Jesse stubbornly keeps returning, inexorably drawn to the place. In short order, she begs them for a chance to join them as they make their daily climb. And, of course, eventually she’ll do just that, thanks to the empathetic and paternal Finn who overrules his more pragmatic colleague Becca’s objections. 

After she proves herself, Jesse is even allowed to sleep overnight on the tree’s towering platform. Jesse’s nighttime panic attack and an encroaching forest fire while she’s aloft provide a couple of the show’s few truly compelling moments. 

Thanks to the spectacular scenic and video designs by Jason Ardizzone-West and Hana S. Kim, respectively, there is a wonderful sense of exhilaration during the climbing episodes, but generally, on the human level, the book by Landau is distinctly on the mild side. Even though the other characters have their respective issues too, dramatic interest is thin. And it doesn't help that Jesse, as written, is fairly irritating throughout, and it’s not tempered by much in the way of charm. 

The power ballad-heavy score by Kate Diaz (lyrics by Diaz and Landau) is not particularly memorable on first hearing either and registers as loud and not a little repetitious. But it clearly plays to the strengths of Menzel’s trademark vocal talents. Her big numbers sound like close cousins of her“Wicked” and “Frozen” hits, “Defying Gravity” and “Let It Go.” Some of these are pitched so high that I had trouble deciphering the lyrics. But it must be said her uniquely belting pipes sound as powerful as ever.

Easier on the ear, all in all, were the numbers for Mel, Finn, and Becca. Finn has a rousing number called “Big Time Religion.” Mel’s “Looking Through This Lens” is particularly lovely. And it’s followed by Becca’s big solo moment “Becca’s Song.” (“The Stars” gives Menzel one of her less bombastic numbers.)

Still, Menzel -- a savvy actress as much as a powerhouse singer -- does a commendable job throughout, at one point executing some impressive aerial flying, even singing upside down as she’s strapped to a harness during her song “In the Leaves.” (Vertical movement and choreography are the work of Melecio Estrella, BANDALOOP.)

Piser, who has appeared in other roles throughout the show, returns as Jesse’s son Spencer, and he, too, has an affecting musical moment. 

The show is 110 minutes, sans intermission, but even so, I'm afraid feels protracted.  

(Nederlander Theatre, 208 West 41st Street; RedwoodMusical.com)

Photo by Matthew Murphy: Idina Menzel

Garside’s Career (Mint Theater Company)

By Harry Forbes

British playwright Harold Brighouse (1882-1958) is best remembered for his 1915 “Hobson’s Choice,” frequently revived and famously filmed by David Lean in 1954 as a vehicle for Charles Laughton. But kudos to the Mint for resurrecting this rarity of his from the same era, and according it a belated New York premiere. (Though produced in Boston in 1919, a proposed New York staging never materialized.) 

The play turns out to be a highly absorbing story of a Northern England engineer (mechanic) the titular Peter Garside (Daniel Marconi), who after obtaining a prestigious degree unique for working class background, is persuaded to run as a Labor candidate for a seat in Parliament.

His doting mother (Amelia White) has absolute faith in his chance of success. But his pragmatic schoolteacher fiance Margaret (Madeline Seidman) is skeptical of Peter’s temperamental suitability, given his facile gift of gab (“The itch to speak is like the itch to drink,” she warns), so much so that their engagement is broken. As it happens, Peter wins the seat, but his subsequent overblown sense of self importance and braggadocio about his demagogue-like ability to control the masses with his smooth rhetoric will surely lead to a downfall. And indeed it does.

Contrasted with the working class folks of his hometown of Midlanton, which also includes Peter’s cronies and local party organizers Karl Marx Jones (Michael Schantz), Ned Applegarth (Paul Niebanck), and Dennis O’Callaghan (Erik Gratton), all finely characterized, are the upper crust characters we meet in the second act.

There's the imperious Lady Mottram (Melissa Maxwell), the mayor’s wife and head of the school board where Margaret teaches, who disdains Garside’s socialist views, and her frivolous son Freddie (Avery Whitted) and independent-minded daughter Gladys (Sara Haider) who falls under Peter’s charismatic spell, and who Peter claims is his inspiration after spotting her adoring look during one of his speeches.

Performances are uniformly strong anchored by Marconi who believably captures the charm and hubris of the increasingly cocky Garside, Seidman’s sensible and wise Margaret, and White’s plain speaking mother. 

 

Under Matt Dickson’s assured direction, “Garside’s Career” proves a solid, exceedingly well constructed play with crackling dialogue, both muscular and witty, all of which makes its neglect all the more puzzling. Throughout, Brighouse has skillfully devised many dramatic scenes which unfailingly hold our interest.. 

Christopher Swader and Justin Swader’s sets neatly encompass the Garside’s humble Midlantan cottage, the Mottram drawing room, and later, Peter’s posh London digs. Yiyuan Li’s lighting likewise captures the respective ambience of each locale. Kindall Almond’s costumes are period perfect. And Carson Joenk’s expert sound design includes convincing effects to suggest an unruly mob. 

(Mint Theater Company, 401 West 42nd Street; through March 15)

Photo by Maria Baranova: (l.-r.) Michael Schantz, Erik Gratton,  Paul Niebanck, Daniel Marconi, Madeline Seidman and Amelia White

Dear Jack, Dear Louise (Penguin Rep Theatre and Shadowland Stages)

By Harry Forbes

Playwright Ken Ludwig’s touching two-hander concerns the extraordinary World War II-era courtship of his parents before they had ever actually met: Jacob (Jack) Ludwig, a medical doctor stationed at an Oregon army hospital; and Louise Rabiner, the aspiring Broadway performer. The fathers of both were friends and had suggested they write to each other.

The play premiered in 2019 at Washington DC’s Arena Stage, and now stars Alexandra Fortin and Michael Liebhauser. They are utterly engaging as Jack and Louise begin their awkward, then increasingly comfortable, correspondence. Jack especially is, at first, shyly stiff and formal in their exchanges, but the effervescent Louise loosens him up soon enough.

Ludwig deftly balances the poignancy and humor of the situation, and skillfully avoids any sense of the static sometimes characteristic of an epistolary format. “Conversation” flows briskly between the two, each on opposite ends of the stage. Director Stephen Nachamie must be commended for the smooth pacing, as well as for guiding his appealing leads to give pitch perfect performances. The rom-com flavor of the first act gives way to high drama and heightened suspense in the second, which sees Jack stationed overseas.

It will no doubt amaze younger audience members to learn of a pre-computerized time when, in a situation such as Jack and Louise found themselves, they could only communicate through letters, not even seeing photos of the other until their correspondence was well underway. Though Jack and Louise would not actually meet until V-E Day, Louise did have a memorable visit Jack’s parents in Pennsylvania, and her recounting of the trip -- including the hordes of relatives who greeted her at the train station, and the events which followed -- is a comic highlight. 

Given Louise’s theatrical leanings, showbiz buffs will get a kick out of cultural references to period offerings like “Blithe Spirit,” “Arsenic and Old Lace,” “Hellzapoppin',” and “Oklahoma,” though (one small nitpick) some of the chronology in that regard is somewhat inaccurate. In any case, when Louise volunteers at the Stage Door Canteen, there are fun references to Betty Grable, Hedy Lamarr, and other silver screen luminaries. 

Christian Fleming’s simple setting -- mainly Jack’s army quarters, and Louise’s New York apartment -- cannily differentiated by lighting designer Keith A. Truax -- and swing-era costumes convey the times beautifully. So, too, does Jeff Knapp’s sound design encompassing, as it does, a mood-setting 40s playlist and vivid sounds of battle.

Ludwig is a hugely prolific and unfailingly entertaining playwright as everyone knows, but on this occasion, given the deeply personal subject matter, he writes with particular warmth and genuinely touching sentiment.

(59E59 Theaters, 59 East 59th Street; boxoffice@59e59.org or 646-892-7999; through February 16)

Photo by Dorice Arden: (l..-r.) Michael Liebhauser & Alexandra Fortin

English (Roundabout Theatre Company)

By Harry Forbes

I didn’t catch Sanaz Toossi’s 2022 play about four students taking an English proficiency course in Iran when it played the Atlantic (in a co-production with Roundabout). But now, here it is on Broadway under the auspices of Roundabout, after winning the Pulitzer Prize for drama in 2023. And a very worthy play it is.

It took several minutes to engage me, as I feared the humor of the piece would have rather too much to do with the stumbling malaprops of the native Farsi speaking students. But as “English” progresses, Toossi’s themes of language and how it impacts one’s sense of national identify and native culture becomes clear and profound. 

Right from the start, you tune into Toossi’s clever device of having the cast speak in unaccented English when they are, in fact, speaking Farsi. But when they attempt their often fractured English, they speak with an accent. We get a sense of their "real" selves through the former.

The time is 2008, and their instructor is Marjan (Marjan Neshat) who has lived in Manchester, England for nine years, before returning to her native Karaj. She insists that only English be spoken in the classroom, but the role is frequently broken by her frustrated pupils.

The students, ostensibly there to prepare for the Test of English as a Foreign Language (TOEFL) exam, include Elham (Tala Ashe) who, as we soon learn, has already failed that test several times. She resents having to learn English but is determined to work in Australia in the field of gastroenterology. Roya (Pooya Mohseni), older than the others, needs to learn English so she can join her son and grandchild in Canada, and not embarrass her son who, it seems, disdains his Iranian heritage. And Goli (Ava Lalezarzadeh), a cheerful 18 year old who simply believes English will be a useful tool in the future. Her elucidation of Ricky Martin’s “She Bangs” song, her contribution to a “show and tell” exercise, is the play’s comic highpoint. 

Quite different than the rest is the one male student Omid (Hadi Tabbal), whose English is far better than all the others but says he recognizes his shortcomings in the language. He and Marjan bond over their mutual enjoyment of Western rom-coms like “Notting Hill” and “Moonstruck,”  which Marjan screens in her office to learn greater proficiency. Along the way, an unstated affection grows between them. 

In the classroom, tensions build as the female students wonder whether the struggle to learn English is worth it, at the same time they ponder whether they stand to lose more than they gain from immersing themselves in a language so removed from their own. Tellingly, though, Marjan reveals at one point that she likes herself better in English.

All of this is absorbing and thought provoking and Knud Adams directs with great sensitivity. The cast is uniformly excellent.

The action plays out on Marsha Ginsberg’s revolving box set which allows us to see everything from different angles though occasionally the vertical beams that limn the classroom, block our view of the action; ditto some of the furniture. Reza Behjat’s lighting subtly delineates the time of day. And there is a superbly effective use of music (mostly piano) to cover the scene changes which complement the emotional mood of the preceding scene, and balances the plainness of the classroom setting. . Likewise, a swelling symphonic interlude near the end makes the action before and after even more poignant. 

(Todd Haimes Theatre, 227 West 42nd Street; roundabouttheatre.org or 212-719-1300; thrugh March 2)

Gypsy (Majestic Theatre)

By Harry Forbes

It was only a matter of time before Audra McDonald would join the distinguished line of post-Ethel Merman interpreters of that arguably most demanding of leading lady musical roles -- Rose, the ultimate stage mother -- and she is, as you would expect, quite superb. 

Though it scarcely seems so long, it has already been 18 years since the first-rate Patti LuPone revival, so this latest one is not premature. And director George C. Wolfe’s production is a fine one across the board. Intriguingly, the advance publicity made clear that, far from color blind casting, McDonald would be playing Rose pointedly as a black woman, with her children Gypsy and June presumably of mixed race parentage.  I wondered how that would be conveyed apart from the actual casting, or how the conceit might impact the integrity of the original Arthur Laurents’ book. 

But, as it happens, nothing’s been altered in the script, and race doesn’t overtly figure in any of the plot turns, even on a subliminal level. (Rose’s machinations to get her kids booked meets the standard impediments, but race isn’t one of them.) Still,  this is not color blind casting for McDonald indeed plays the role as a scrappy black woman with the pointed vocal inflections of a woman of a certain class and era. And in so doing, she  creates a unique characterization unlike other Roses we’ve seen, and reminding us yet again of what a potent actress she is even apart from her lustrous voice.

Vocally, McDonald’s trained soprano voice might not seem the ideal fit for the belting Rose, and some of her register shifts are a tad disconcerting at first. But, for the most part, she sings in a chest voice, only morphing into purer soprano tones on the highest notes. 

“Rose’s Turn” is delivered with tremendous ferocity earning a deserved ovation, but she also scores delightfully in the lighter moments like “Have an Egg Roll, Mr. Goldstone,” and “Together, Wherever We Go.” 

She’s got strong support from Danny Burstein, brilliant as Herbie, the manager who loves her, and provides the family with a temporary semblance of stability. And Joy Woods, so impressive in last season’s CSC revival of “I Can Get It For You Wholesale,” makes an ideal Gypsy, sweet and awkwardly self-effacing in the early scenes, luscious as the strip tease artist she becomes. 

The three strippers who instruct novice Gypsy with “You Gotta Get a Gimmick” are among the best, and the number, familiar as it may be, comes out freshly minted.  Lesli Margherita, Lili Thomas, and Mylinda Hull wring every ounce of humor out of the number as Tessie Tura, Mazeppa, and Electra. 

And Kevin Csolak is a sensational Tulsa, delivering one of the best versions of “All I Need is the Girl.” Camille A. Brown eschews the sacrosanct Jerome Robbins choreography for her own and her work in this number and throughout is terrific. 

Baby June (Jade Smith at my performance) was surely the most acrobatic within memory, and she morphs neatly into Jordan Tyson’s older June. Tyson’s “If Momma Was Married” duet with Woods is another highpoint. Elsewhere, though I felt both Junes were at times undercut by Wolfe’s exaggerated staging of their numbers.

Andy Einhorn leads his forces in a polished account of score, though I must confess I thought the famous overture was a tad short of pizzazz. On the other hand, audience members at my performance yakked all the way through it, so perhaps the blame lies there. 

Santo Loquasto’s set deftly handles all the scenes from Rose’s father’s Seattle house to the elaborate Minsky set piece of Gypsy’s strip. Toni-Leslie James’ costumes are spot on, and Mia Neal’s hair and wig design, Jules Fisher + Peggy Eisenthauer’s lighting, and Scott Lehrer’s sound are top of the line.

(Majestic Theatre, 245 W 44th Street; GypsyBway.com)

Photo by Julieta Cervantes: (l. - r.) Audra McDonald & Joy Woods

Elf (Marquis Theatre)

By Harry Forbes

When “Elf” premiered on Broadway back in 2010, I opined that the show was so good it could easily have staying power well beyond the new year. My cheeky advice went unheeded, of course, and the show closed after playing its planned seasonal run. But it was brought back at Christmastime a couple of years later. 

And now, here it is again, this time with a thoroughly new production team, with its essential quality emerging as remembered. 

Polls have repeatedly named the 2003 Will Ferrell film “most popular Christmas movie” so, for most, a synopsis is probably superfluous. But for the uninitiated, “Elf” tells of central character Buddy, who had been brought to an orphanage by his dying mother and subsequently managed to climb into Santa’s sack, so was raised in the North Pole believing himself to be an elf. 

When Santa finally reveals Buddy’s backstory, Buddy travels to New York to meet his birth father, Walter Hobbs, previously unaware of Buddy's existence. Long since remarried to Emily, Walter now has a young son, Charlie, one who doesn’t believe in Santa Claus any more than the work-consumed Walter. When a DNA test verifies Buddy’s parentage, Walter reluctantly takes him in. Eventually, Buddy lands a job in Macy’s Christmas department where he falls for the loveless Jovie. It’s hardly a spoiler to reveal that all is set right eventually with a giant affirmation of Santa Claus. 

Once again, I admired the economy of Thomas Meehan and Bob Martin’s script which satisfyingly honors the film’s screenplay by David Berenbaum. And the tuneful, old-time Broadway score by Matthew Sklar (music) and Chad Beguelin (lyrics) -- under the musical direction of Alan Williams -- is a pleasure to hear again.

Smartly cast with Broadway pros Ashley Brown and Michael Hayden as Charlie’s parents; “Tina” alum Kaylen Davion as Jovie, Jennifer Sánchez as Walter’s good natured secretary Deb, Kai Edgar as Michael, Kalen Allen as a beleaguered Macy’s manager, and Sean Astin skillfully switching between Walter’s bottom-line boss Mr. Greenway and jovial Santa. All are excellent.

Musically, Brown and Edgar knock it out of the park with their two duets, “I’ll Believe in You” and “There is a Santa Claus.” Davion scores with her soulful “Never Fall in Love.” And Sanchez in a particular bright spot in all her moments, musical and otherwise. 

As Buddy, Grey Henson proves a worthy successor to role originator Sebastian Arcelus, and tops his previous Broadway work in “Shucked” and “Mean Girls” with an altogether delightful performance. 

Philip Wm. McKinley directs at a brisk pace, and Liam Steel’s choreography is great fun. 

Gareth Owen and Peter Fitzgerald’s sound design is somewhat overamped in the current style, but the dialogue and lyrics are never distorted Tim Goodchild’s set and costume design -- lighted by Patrick Woodroffe with video design by Ian William Galloway & Mesmer Studios --  sets the festive tone, and there are several nice scenic surprises which delight. 

In its modest but winning way “Elf” more than holds its own with all the current musical offerings on Broadway, and, a rarity, actually sends the audience out humming at least one of the tunes, the earwormy “Buddy the Elf.” 

(Marquis Theatre, 210 West 46th Street; ElfOnBroadway.com; through January 4)

Photo by Evan Zimmerman for MurphyMade: (l.-r.) Grey Henson, Sean Astin

Maybe Happy Ending (Belasco Theatre)

By Harry Forbes

This new musical with Darren Criss and Helen J. Shen as futuristic robots is surely the most unexpectedly and disarmingly delightful show of the year so far. A 2016 Korean hit, which swept the Korean Musical Awards and has already had successful runs in Japan and China, and also a 2020 engagement at the Alliance Theatre in Atlanta, GA., from which this production emanates, the show should win more hearts and fans on Broadway.

The setting remains Seoul, Korea in the “near future,” the program facetiously tells us. In this world, so-called Helperbots -- lifelike robots -- serve the humans until they are “retired” to the Helperbot Yards where they live in neat, ultramodern studio apartments.Oliver (Criss) and Claire (Shen) are two such. Though there is little to no interaction among the residents, and Oliver’s only companion is his trusty house plant, Claire one day knocks on Oliver’s door when she finds she is running out of power and needs a charge.

The insular Oliver is reluctant to answer much less help her, but eventually, he succumbs. Claire gradually wears down his resistance to more social interaction, and before long, they will take an adventurous journey to a distant island where Oliver plans to reunite with his former master James who imbued in Oliver a serious love of jazz. Despite Claire's skepticism, Oliver insists that James had been a true friend, not merely his master. Claire, for her part, hopes to witness the wondrous fireflies there. 

Although these bots are not programmed for love, of course, we know that romance is sure to blossom. I don’t want to give much more away but suffice to say, their odyssey becomes a profoundly spiritual and moving experience for them as well as the audience. 

Criss as the inferior (and more robotic) model 3 bot does some of the best work of his career in a superbly disciplined and downright lovable performance, while Shen compliments him beautifully as the more gregarious and advanced model 5. 

Two other excellent performers round out the cast: Dez Duron as lounge singer Gil Brentley who pops up periodically echoing Oliver’s infatuation with jazz, and Arden Cho as James and several other characters. 

One of the nicest surprises about this show is that it’s not yet another over amplified rock musical, but a gentle, jazz-infused  score with songs that genuinely arise out of the situation. Will Aronson and Hue Park share the superior composing honors. The show it reminded me of most in its unpretentious charm was the Michel Legrand “Amour” in 2002. I do hope that “Maybe Happy Ending” surpasses that one’s unfortunately short run, and perhaps Criss’ starry participation will ensure healthy box office.

Directed with supreme sensitivity by Michael Arden (who also helmed the earlier Atlanta mounting), there’s not a false emotional note here, and everything unfolds on Dane Laffey’s classily simple but elegant set. Laffey also collaborated on George Reeve’s stunning video design. Clint Ramos’ costumes, Peter Hylenski’s sound, and Ben Stanton’s lighting are all state-of-the-art perfect for this material. 

Highly recommended. 

(Belasco Theatre, 111 West 44th Street; www.maybehappyending.com or Telecharge or 212-239-6200)

Photo by Matthew Murphy & Evan Zimmerman: (l.-r.) Helen J. Shen, Darren Criss