Friday, August 5, 2022

Into the Woods (St. James Theatre)


By Harry Forbes

It seemed a foregone conclusion that the ecstatically received final production of this past season’s Encores -- the first under the aegis of new Artistic Director Lear DeBessonet -- would make the leap to Broadway, and indeed -- like “Wonderful Town,” “Finian’s Rainbow,” “Gypsy,” and most profitably, “Chicago” -- so it has, first for an announced limited eight-week run, and now extended for a further eight weeks. 


When Encores chose Stephen Sondheim and James Lapine’s “Into the Woods” as the third show of its 2022 season, there was no harsher critic than I in grousing that such a familiar show -- and one that had no less than two admirable New York revivals during the past decade (The Public’s in 2012, Roundabout/Fiasco’s in 2014), not to mention Rob Marshall’s excellent film also in 2014 -- was off mission for a series dedicated to rarely heard American musicals. And I still believe that is so.


However, one can’t argue with success and quality, for after launching the season with the mediocre “Tap Dance Kid,” and a dispiriting reworking of “The Life,” Ms. DeBessonet herself did an absolutely splendid job directing “Into the Woods,” beautifully cast across the board, and revelatory in much of its detail.


Not all of the City Center cast were available to make the transition, but the newbies are a distinguished lot: Brian Darcy James (vocally and dramatically reliable as always) as the Baker, Patina Miller (alternately forceful and tender) as the Witch, Joshua Henry (demonstrating his rarely seen comic chops) as Rapunzel’s Prince, Aymee Garcia (appropriately fraught) as Jack’s Mother, and Nancy Opel (amusing) as Cinderella’s Stepmother. At the reviewed performance, Phillipa Soo as Cinderella was out, but her excellent understudy Diane Phelan delivered a finely sung portrayal. Alysia Velez handled Rapunzel’s ethereal vocalise well. Gavin Creel as Cinderella’s Prince and the Wolf was on temporary leave, but was replaced by the estimable Cheyenne Jackson no less.


Of the Encores veterans, Sara Bareilles returned for her truly outstanding turn as the Baker’s Wife, skillfully adjusting her performance for a different chemistry than she had with City Center’s Neil Patrick Harris. David Patrick Kelly struck absolutely the right tone as the Narrator/Mysterious Man. Julia Lester was even more riotous as a bloodthirsty Little Red Ridinghood. Cole Thompson was very appealing as Jack, delivering a fine “Giants in the Sky.” Other welcome returning cast members were Ta’Nika Gibson as Lucinda, Annie Golden as Cinderella’s Mother, Granny, and the voice of the Giant, Brooke Ishibashi as Florinda, Albert Guerzon as Cinderella’s Father, and David Turner as the Steward.

 

Every one of the musical numbers was afforded an outstanding interpretation: Bareilles’ “Moments in the Woods; her duet with James, “It Takes Two”; his “No More,” sung with Kelly; Miller’s “Stay With Me”; Jackson and Henry’s “Agony”; and Lester’s “I Know Things Now” were all strongly delivered. So it's good news that a CD of this cast will be forthcoming.

 

The comedy seemed a bit broader than at Encores, but that’s my only small carp as it’s only a subtle shift in that direction. Lorin Latarro created the witty choreography

 

The production team was again excellent. David Rockwell’s relatively spare but clever scenic design, lit by Tyler Micoleau, was just as it was on the City Center stage. Andrea Hood’s costumes were fairy tale perfect.  Scott Lehrer & Alex Neumann’s sound design was exemplary: cleanly focused and beautifully balanced, a rarity these days. James Ortiz’s puppet design, most especially the scene-stealing cow Milky White (wittily manipulated by puppeteer Kennedy Kanagawa) was a delight, and Cookie Jordan’s Hair, Wigs & Makeup were other strong elements including Miller’s transformation from old crone Witch to glamorpuss was deftly handled.


This first New York production of a Sondheim musical produced after his death last November was received with rock concert appreciation from the moment the curtain rose, rousing affirmation of the show’s popularity and the general buzz about this production, and continued unabated throughout the evening. 


Outgoing Encores Musical Director Rob Berman led an orchestra attuned to every nuance in the score. 


Even as “Into the Woods” would seem to indicate there can be no fairy tale happy endings, its themes of forgiveness and tolerance are the more predominant takeaway, and as such, apart from its considerable entertainment value, the revival is most judiciously timed and welcome. 


(St. James Theatre, 246 West 44th Street; intothewoodsbway.com; through October 16)


Photo by Matthew Murphy and Evan Zimmerman for Murphy Made: Sara Bareilles & Brian D’arcy James

Tuesday, August 2, 2022

The Kite Runner (The Hayes Theater)


By Harry Forbes

This stage adaptation of Khaled Hosseini's 2003 international bestseller, made into a film in 2007, premiered back in 2009 at the San Jose Repertory Theatre, and has finally made it to Broadway via the U.K.’s Nottingham Playhouse in 2013, and Wyndham’s Theatre in the West End in 2016.


Amir Arison from TV’s “The Blacklist”  plays the tale’s protagonist, aptly named Amir, and quite a marathon part it is. On stage almost every minute of the show’s two-and-a-half hours, Arison narrates the tale and evolves from naive12-year-old boy to responsible manhood.


Though some have criticized the play for being so narrative heavy, I was engrossed throughout. And those at my performance were similarly transfixed. It was that "hear-a-pin-drop" concentration that signals an absolutely rapt audience. 


As Amir begins his saga with his privileged childhood in Kabul and the happy times -- kite flying among the pastimes -- spent with his best friend Hassan (Eric Sirakian, very touching), son of the devoted manservant Ali (Evan Zes) to Amir’s wealthy widowed father Baba (Faran Tahir). The boys are inseparable but the inherent class distinction -- Amir a privileged Pashtun, and illiterate Hassan the lower class Hazara -- is never forgotten in Amir’s mind. 


When the steadfastly loyal Hassan attempts to retrieve a downed kite for Amir after the local competition, he encounters the local bully Assef (Amir Malaklou), and he is set upon and sexually assaulted. Amir fearfully watches everything from a hidden position and, shamefully, does nothing to help the boy. This cowardly act, and several others that follow, haunt Amir ever after and propels the action. 


Years later, after the Soviet takeover of Afghanistan, Amir and his father flee to San Francisco. There, Amir falls in love with Soraya (warmly sympathetic Azita Ghanizada), daughter of one of Baba’s formerly powerful friends, General Taheri (Houshang Touzie), now a flea market stall proprietor. Eventually, a message from a longtime family friend, Rahim (Dariush Kashani), now in Pakistan, brings Amir back to Afghanistan to make amends for his youthful misdeeds.


The performances are all excellent, and Arison, in addition to demonstrating his remarkable stamina, helps us understand his character’s less-than-admirable qualities, making his ultimate redemption all the more moving. Tahir is very strong as the stern but loving father. And Kashani impresses with his multiple roles besides that of Rahim. 


Playwright Matthew Spangler has skillfully adapted Hosseini’s book, and thanks to the storytelling structure, manages to cram plenty of incident into it. 


Director Giles Croft keeps things moving at an absorbing pace. Barney George’s scenic and costume designs, lighted by Charles Balfour, are evocative, while Salar Nader’s tabla musical accompaniment (Jonathan Girling, composer) adds to the authentic Middle Eastern atmosphere, along with William Simpson’s projection design.. 


Despite the protracted road to Broadway, there’s nothing tired about this vibrant and absorbing production which I warmly recommend. 


(The Helen Hayes Theater, 240 West 44th Street; Telecharge.com or 212-239-6200; through October 30)


Photo by Joan Marcus: Amir Arison and Eric Sirakian

Wednesday, June 29, 2022

Happy 100th Birthday, Judy! - A Musical Celebration (Carnegie Hall)


By Harry Forbes

On the occasion of what would have been Judy Garland’s 100th birthday, here it seemed was the lady once again bringing the house to its feet multiple times this past Saturday at the venue of her legendary triumph back in 1961. 


Of course, it wasn’t really the late Garland herself but rather a phenomenal British performer named Debbie Wileman. Nor for that matter, was it the Stern auditorium on which stage Judy actually performed that legendary night six decades ago, but the adjoining and prestigious concert hall underneath.


Still, the sold-out house greeted Wileman’s first entrance as if it were the second coming of Judy herself and her performance didn’t disappoint. She opened with Stephen Sondheim’s “I’m Still Here,”  a song which, needless to say, Garland didn’t live to perform. The recreation of Garland’s vocal timbre was uncannily accurate right from the start. The “Follies” song also opens Wileman’s tie-in CD, consisting almost entirely of songs Garland never actually sang, wonderfully orchestrated, conducted and produced by Grammy Award-winning Steve Orich, with Wileman channeling the inimitable Garland style on each track. 


Michele Lee, Renee Taylor, and Tracie Bennett (who played Judy in “End of the Rainbow” on Broadway) were among the celebrities cheering on Wileman, as was former Garland beau John Mayer who received a warm introduction from Wileman before she sang one of the memorable songs he wrote for Garland: “I’d Like to Hate Myself in the Morning.”


The UK-based singer and actress created a social media sensation on Facebook when she posted songs by Garland and other singers during the pandemic. The Zankel Hall performance marked her New York debut after performances in London. In addition, her U.S. tour included Fort Lauderdale, Orlando, Provincetown, and Los Angeles. 


Impressive as her homemade videos are, seeing her in person is even more remarkable. The strong-voiced Wileman is quite the phenomenon, summoning Garland better than any impressionist I’ve ever seen. And with plenty of stage presence of her own.


What sets Wileman further apart from many of the Garland impersonators of the past is the genuine quality of her voice, the solid musicianship of her approach, and the sensitive interpretation of the lyrics. She was given superlative accompaniment from Music Director Ron Abel, and a first-rate band including Jack Cavari (guitar), Robert Cookman (synthesizer), Ritt Henn (Bass), Ben Kono (saxophone), Ray Marchica (drums), and Kurt Marcum (trumpet). 


On her first entrance, one thought she might  “do” Garland all evening, but wisely, after the first couple of numbers, she spoke with her own English accent in a charming and down-to-earth manner, only sporadically mimicking Judy for some spoken patter. And as with her singing, her impression of Garland’s speaking cadence was spot-on accurate. 


The program was most sensibly laid out with Garland evergreens alternating with some of the new songs featured on the album. This is the Garland of the 1960’s, the voice a bit frayed at the edges, but strong and dynamic. Wileman captures Garland’s unique timbre so well that the occasional word, phrase or stage movement that slightly misses the mark stands out. But those moments were surprisingly rare. 


Wileman gave us a satisfying taste of what Garland’s “Mame” might have sounded like if she had gotten the role she coveted. Wileman offered splendid versions of “It’s Today” and “If He Walked into My Life.” And, arguably, even more impressive were Amy Winehouse’s “Back to Black” and Paul McCartney’s “Yesterday” and “Got to Get You Into My Life” sung quite plausibly in the Garland style. There was also a quite brilliant arrangement of Patsy Cline’s “Crazy” with a musical counterpoint of “You Go to My Head.” The most intimate number was “A Foggy Day,” sung to Abel’s piano accompaniment, feelingly vocalized.


By the time, she belted out the “You Made Me Love You/“For Me & My Gal”/”Trolley Song” and “Almost Like Being in Love”/”This Can’t Be Love” medleys, two of Garland’s Carnegie Hall classics, Wileman and Garland seemed to be truly one. And the satisfyingly predictable “Over the Rainbow” encore, sung as authentically as all the rest, clinched the transformation. (Incidentally, Wileman recorded that song for her album on the MGM studio where Garland sang the song for “The Wizard of Oz” soundtrack.)



(Judy and Arthur Zankel Hall, 881 Seventh Avenue; June 25th)


Photo credits:


(top): Joseph Marzullo


(bottom) Hernan Rodriguez


Sunday, June 26, 2022

The Bedwetter (Atlantic Theater Company)


By Harry Forbes

This is a quirky but entertaining musical adapted from Sarah Silverman’s memoir about her 10-year-old self (played with winning pluck by Zoe Glick), circa 1980, as she struggles to make friends at school in a new town (Bedford, NH) after her parents’ divorce. 


There, she shuttles between her neurotically bedridden but caring mother Beth Ann (a moving Caissie Levy) and older sister Laura (Emily Zimmerman), and her boorish and loving father Donald (Darren Goldstein) who runs a discount clothing store and makes hucksterish TV commercials for the store. He lives with his aging and cheerfully alcoholic mother Nana (sharp character portrayal by Bebe Neuwirth). 


Sarah has difficulty adjusting to school, and her perennially exasperated teacher Mrs Dembo (amusing Ellyn Marie Marsh) while her bratty classmates Ally (Charlotte Elizabeth Curtis), Abby (Charlotte MacLeod), and Amy (Margot Weinstraub) alternately disdain and embrace her, intrigued, despite themselves, by Sarah’s wacky sense of humor. (Celebrity fart impressions are Sarah’s specialty.)


Sarah’s big secret, as the title reveals, is that she still wets her bed, a malady that -- once revealed to her friends, much to Sarah’s intense mortification -- spurs her father to take the girl to first a hypnotist and then a medical doctor (both played by versatile Rick Crom who also shows up later as a plausible Johnny Carson).


Ashley Blanchet makes several bright appearances as a fantasized Miss New Hampshire. 


The cast is strong and everyone gets their moment to shine both vocally and dramatically. Glick makes Sarah as precociously annoying as the script dictates, though frankly, her high pitched vocals sometimes grate (even understanding the stridency is intentional), but as the show progresses, she becomes more endearing.


Though the overall tone of the show is lightweight, and the score, on first hearing, strikes me as mostly pleasantly serviceable, the second act takes a decidedly darker turn, as Sarah deals with depression, family recriminations, and more.


Silverman adapted her book with playwright Joshua Harmon (whose “Prayer for the French Republic” was such a bright spot earlier this year) and co-wrote the lyrics with composer Adam Schlesinger who tragically died of Covid-19. Composer David Yazbek, who knows a thing or two about musicals, served as creative consultant. 


Anne Kauffman directs with empathy for the material, and there’s some cute choreography, including a chorus line of dancing giant Xanax pills, by Bryon Easley.


(Linda Gross Theater, 336 West 20th Street; OvationTix.com or 646-989-7996; through July 10)


Note that Jessica Vosk takes over the role of Beth Ann and Elizabeth Ward

Land plays Nana for performances from July 5-10.


Photo by Ahron R. Foster: (l-r) Bebe Neuwirth (Nana) and Zoe Glick (Sarah)

Tuesday, May 24, 2022

International Vocal Competition Winners Shine at Zankel Hall


By Harry Forbes

Winners of the International Vocal Competition took the stage at Carnegie Hall’s Zankel Hall on Sunday afternoon, after a hiatus of four years.


The competition, under the auspices of the Gerda Lissner Foundation in association with the Liederkranz Foundation, comprises three divisions: the Lieder Song Vocal Competition, an Operetta and Zarzuela Division and a General Division. The Gerda Lissner Foundation was created in 1991 by Mrs. Lissner, a decades-long Metropolitan Opera subscriber, to provide financial support for young opera singers. In all, $98,500 was awarded in prize money.


The concert’s first half, accompanied by pianist Mary Pinto, began with the Lieder winners which included soprano Yvette Keong’s impassioned rendition of Rachmaninoff’s “To Her,” and an exquisite rendering of Stephen Foster’s chestnut “Beautiful Dreamer.” She was followed by baritone Gregory Feldmann whose warmly expressive baritone shone on William Grant Still’s “Citadel” and Franz Schubert’s “Auf der Bruck.” 


Unfortunately missing from this section because of “covid restrictions” was mezzo-soprano Alma Neuhaus


The first half finished up with what amounted to a mini zarzuela recital, as all three of the top winners in the Operetta and Zarzuela competition chose selections from the richly melodic but (in this country) relatively unknown Spanish operetta genre. Soprano Evelyn Saavedra, characteristically dressed in red with a matching flower in her hair, offered a stylish account of the familiar “De España vengo” from Pablo Luna’s classic “El Niño Judio.”


Charismatic baritone Kevin Godínez followed with a strong “Junto al puente de la peña'' from Jose Serrano's “La Canción del Olvido,” earning an especially rousing ovation. 


And first prize winner in that category, Ethel Trujillo, authoritatively performed two selections, “La Petenera” from Federico Morena Torroba’s “La Marchenera” and “Me llaman la Primorosa” from Gerónimo Giménez’s “El Barbero de Sevilla.”


The program’s second half, accompanied by pianist Arlene Shrut, spotlighted the General Division winners. The set began with, in fact, another operetta selection, “Ô petite étoile” from Emmanuel Chabrier’s “L’étoile.” Shannon Keegan’s warm mezzo sailed over some intrusive traffic noise and she was unfazed by premature applause.


Soprano Teresa Perrotta delivered a forceful “Come scoglio” from Mozart’s “Cosí fan tutte.” with almost mezzo like resonance. 


Baritone Eleomar Cuello, who had just flown in from Spain earlier in the day, was none the worse for wear as he delivered a beautifully vocalized “Mein Sehnen, mein Wähnen” from Korngold’s “Die Tote Stadt.” 


And finally, top prize winner Eric Ferring, who had just sung Arturo at Saturday’s matinee of “Lucia di Lammermoor” at the Met, showed his versatility by bringing his sweet high tenor to Des Grieux’s “En fermant les yeux” from “Manon” followed by Handel’s virtuosic “Il tuo sangue” from “Ariodante.”


Throughout the concert, both Pinto and Shrut offered sensitive and incisive accompaniment. 


The occasion was sadly missing two of its mainstays, Stephen De Maio and Brian Kellow, both of whom passed away since the last concert. Both men were eulogized most movingly by the afternoon’s host, Midge Woolsey. “Think of the difference they made in all our lives” she said of De Maio and Kellow. Throughout the concert, Woolsey provided unflagging charm and enthusiasm, introducing each singer and putting their selections in interesting context.


As a finale, all nine of the singers joined forces on the choral “Sunday” number from Sondheim's “Sunday in the Park with George.” A lovely way to wrap up a Sunday afternoon!


As you could hear remarked by the exiting crowd, if what we experienced was any indication, the forecast for opera’s future looks bright indeed.


(Judy and Arthur Zankel Hall, Carnegie Hall, 881 Seventh Avenue; gerdalissner.org; May 22)

Sunday, May 22, 2022

Paradise Square (Ethel Barrymore Theatre)


By Harry Forbes

Early critical reaction to this epic Civil War-era musical set in New York’s seedy but racially vibrant Five Points district in Lower Manhattan has been rather mixed, but flawed or not, I found it an impressive piece of musical theater with an interesting plot and chock full of talent.


The show premiered in 2019 at the Berkeley Repertory Theatre, and was based on an earlier musical “Hard Times” by Larry Kirwin performed in 2012 and 2014 at The Cell in Manhattan. 


With a generous cast of 40, and an imposing tenement set by Allen Moyer, the book -- co authored by Christina Anderson, Craig Lucas and Kirwan -- centers on a flictional saloon/brothel run by Nelly O’Brien (Joaquina Kalukango), a black woman married to Irish policeman Willie (Matt Bogart) who’s about to go off to fight in the war. (In the Five Points, apparently, interracial marriages were common with free-born blacks and escaped slaves living in harmony with Irish immigrants.)


Willie’s feisty sister Annie (Chilina Kennedy) is, for her part, married to a black Methodist preacher (Nathaniel Stampley), who aids escaping slaves who have come up north on the Underground Railway. One such fugitive is Washington Henry (Sidney DuPont) who resists the preacher’s admonition to continue to safety in Canada until he can be reunited with his love Angelina (Gabrielle McClinton). Nelly agrees to take him in. 


At the same time, Annie’s nephew Owen (A.J. Shively) arrives from Ireland also seeking shelter, and finds himself sharing a room with Washington. 


The villain of the piece is politico Frederic Tiggens (John Dossett) who is hellbent on breaking up the Five Points, and the political clout that an Irish-Black alliance might exert. An unwitting accessory to Tiggens’ scheming is the alcoholic piano player (Jacob Fishel) whom Nelly hires. A more proactive trouble maker is “Lucky” Mike Quinlan (Kevin Dennis) who has come back wounded from the war, and then resents the lack of job opportunities, especially when rebuffed by his former friend, the Reverend. 


There’s a lot of plot here, but under Moises Kaufman’s accomplished direction, most of it is absorbing, at the same time that much of it is conventional and predictable. 


Jason Howland’s score (lyrics by Nathan Tysen and Masi Asare) is not especially memorable on first hearing, but certainly more than serviceable, and there are some pearly moments such as Owen’s plaintive “Why Should I Die in Springtime,” as he fears the draft lottery that may soon drag him into the war, followed by the black ensemble’s “I’d Be a Soldier,” in which the Reverend and Washington sing about how their people are not allowed to fight. 


Howland’s orchestrations are lush and, though the music is generally in a contemporary vein, includes some period instruments. 


Nelly’s eleven o’clock number “Let It Burn,” sung as the Five Points is on the brink of destruction, is the show’s electrifying musical highpoint, and Kalukango sings it magnificently bringing the audience to its feet, and is no doubt a major factor in her multiple nominations in the various awards competitions. 


Along the way, there’s lots of dancing -- superbly choreographed by Bill T. Jones -- variations on step dancing for the Irish characters and jazzier moves from the black characters. Ultimately, a dance competition at the saloon pits Washington against Owen, both desperate for the $300 prize money. Both DuPont and Shively prove mightily impressive here.




The cast is outfitted in Toni-Leslie James’ handsome period costumes. And there’s superior work by Donald Holder (lighting), Jon Weston (sound), and Wendall K. Harrington (Projection Design). 


The longish first act seemed to climax at least two or three times before intermission, but I’m not sure what I'd want to cut. In any case, the packed audience at my performance sat transfixed through it all. And the roaring ovation at the end confirmed their seal of approval.


Kirwin’s additional music is said to be inspired in part by the songs of Stephen Foster which played a more major part of his earlier “Hard Times.” No spoilers here, but let me just say that Foster himself doesn’t figure any too nobly in the story. But then, the real Foster’s time in New York where he died (a possible suicide) is shrouded in mystery.


The show sparked my interest in learning more about the Five Points, and even about Foster himself whose beguiling music has been on my sound system's playlist ever since. (I do rather wish more of it had been retained here.)


The show’s 10 Tony nominations speak to its undeniable quality, suggesting that the show may override the critical carps and emerge a popular hit. 


(Ethel Barrymore Theatre, 243 West 47th Street; 212-239-6200 or Telecharge.com)


Photos by Kevin Berne:


(Top) At center, Kevin Dennis, Matt Bogart, Joaquina Kalukango, Chilina Kennedy, Nathaniel Stampley and the company


I(Below) Sidney DuPont as Washington Henry, A.J. Shively as Owen Duignan and Ensemble





Wednesday, May 11, 2022

Suffs (The Public Theater)


By Harry Forbes

First, let it be said that Shaina Taub, who has already composed highly entertaining scores for “Twelfth Night” and “As You Like It” for the Public Theater at the Delacorte, is an amazing talent. As if creating the book, music and lyrics of her latest musical weren’t enough, she also plays the leading role of suffragist Alice Paul.


“Suffs,” for so the pioneering suffragists called themselves, tells the story of these early 20th century activists who fought over a period of seven years before the 1920 passage of the 19th Amendment, banning voting discrimination based on gender.


The narrative traces how rabble-rouser Paul butts heads with Carrie Catt (Jenn Colella) of the National American Woman Suffrage Association over the latter’s (in Paul's view) overly cautious tactics. In retaliation, Paul founds the National Woman’s Party in Washington, D.C. She and her fellow suffragists -- including Paul’s friend Lucy Burns (Ally Bonino), Polish union organizer Ruza Wenclawska (Hannah Cruz), young Doris Stevens (Nadia Dandashi) and socialite lawyer Inez Milholland (Phillipa Soo) -- plan a demonstration just before President Woodrow Wilson’s inauguration, Milholland dramatically leads the protest on horseback. Wealthy socialite and activist Alva Belmont (Aisha de Haas) helps finance their activities. 


For all of these ladies' progressive notions, they fail to see eye to eye with their fellow black suffragists, journalist Ida B. Wells (Nikki M. James) and Mary Church Terrell (Cassondra Jones), over the issue of full integration in the march, as societal racism dictates that the latter group march at the back of the procession. This prompts a strong rebuke from Wells who sings of her refusal to “Wait My Turn,” which James sings powerfully.


Wilson (an amusingly unflattering portrayal by Grace McLean in this all-female cast) condescendingly blocks the women’s efforts at every turn. Even the efforts of Wilson advisor Dudley Malone (charming Tsilala Brock), fails to loosen the implacable Wilson. Malone eventually resigns and marries Doris Stevens. The two of them share one of the score's lighter duets, “If We Were Married.” 


It’s easy to think of Taub as the female Lin-Manuel Miranda, and indeed there are similarities to “Hamilton” in the telling of the story and the musical style. Admittedly, “Hamilton” covered a wider canvas of characters and time span, and had greater variety to its musical texture. So “Suffs” feels a bit inflated at its nearly three-hour length. But with its tuneful score and first-rate cast, it’s certainly a worthy musical in every way, not least in popularizing the story of these pioneering women.


Some may remember the 1974 “Masterpiece Theatre” presentation of “Shoulder to Shoulder,” which told the story of the British suffragists Emmeline Pankhurst and her daughters, and will notice a similar dramatic arc as Alice Paul and her colleagues meet fierce resistance, are imprisoned, force fed when they go on a hunger strike, and eventually, prevail against seemingly impossible odds to get the amendment passed. 


Mimi Lien’s staircase setting -- lighted by Natasha Katz -- makes for a versatile playing area on the wide Newman stage. Toni-Leslie James has designed the excellent period costumes.


At several points, the all cast engages in vaudeville turns which underscore the salient themes. “Watch out for the Suffragettes,” is one such. Wilson’s sardonic “Ladies” is another. The flavorsome choreography by Raja Feather Kelly


Music direction and music supervision of the 12-piece orchestra are in the accomplished hands of Andrea Grody who not only conducts, but plays keyboard. (Orchestrations are by Mike Brun.)


In  spite of Leigh Silverman’s seamless and accomplished direction, and the first-rate cast, some trimming would, as indicated earlier, be advantageous, but “Suffs” is sure to have a future beyond its limited run at the Public.


This is clearly Alice Paul’s theatrical season, as she figures -- in a quite humorous if tangential way -- in Selina Fillinger’s current Broadway comedy “POTUS.”


(Newman Theater, 425 Lafayette Street; publictheater.org or 212-967-7555); through May 15)


Photo by Joan Marcus:

(I.-r.) Ally Bonino, Phillipa Soo, Shaina Taub, Hannah Cruz, and Nadia Dandashi  

Friday, May 6, 2022

Funny Girl (August Wilson Theatre)


 By Harry Forbes

It’s good to have the Jule Styne-Bob Merrill musical based on the life of Ziegfeld star Fanny Brice back on Broadway after nearly 60 years, albeit with Isobel Lennart’s original book revised by Harvey Fierstein, so not quite the reverential replica of the original in the way that revivals of Styne’s other iconic show business musical, “Gypsy,” tend to be. But Fierstein wisely doesn’t veer too far from Isobel Lennart’s original, and then again, “Funny Girl” is not exactly in the classic “Gypsy” league.


All the original stage songs, except "Find Yourself a Man," are retained, unlike the 1968 movie which unwisely dropped such gems as  “Cornet Man,” “I Want to Be Seen With You,” “Henry Street,” “Who Taught Her Everything She Knows?," ”Rat-Tat-Tat-Tat,” “Who Are You Now?,” and “The Music That Makes Me Dance.” And it’s a pleasure to hear them again. In addition, a restored cut number from the original -- “Temporary Arrangement” (for Nick Arnstein) -- as well as the film version’s title song are thrown in for good measure, too.


The overture, almost as iconic among buffs as that of “Gypsy,” is played complete in Chris Walker’s new orchestration, though to make sure present-day audiences, not accustomed to sitting through overtures, stay awake, the proscenium lights brighten flashily with each trumpet blare. And the sound level here, and throughout the show, is likewise pumped up in the current fashion.


Director Michael Mayer’s production premiered in 2016 in London with Sheridan Smith as Fanny, and was live streamed and recorded on CD. Casting apart, that production was identical to this one, and serves as a blueprint for the way the show is performed and the songs sung. Listen to the CD with Smith, and you’ll hear how her phrasing pretty much mirrors what Feldstein does here.


There’s been much pontificating on social media about the casting of Beanie Feldstein as Fanny; no one but original star Barbra Streisand should play the role, many have opined. They seem not to realize that “Funny Girl” was played with success by countless ladies after Streisand’s original run, including Mimi Hines who took over the Broadway production after Streisand’s departure, and stayed in the show longer than her predecessor. Marilyn Michaels won acclaim in the national tour, and even Barbara Cook, still in her slim ingenue days, played opposite screen heartthrob George Hamilton. Carol Lawrence, Pia Zadora, Debbie Gibson, and others have had their day in the role, too.


However, the fact remains that Feldstein is a most peculiar choice for Fanny. Her plus-size appearance is certainly nothing like Fanny, and her vocalizing of such chestnuts as “People” and “Don’t Rain on My Parade” is merely adequate. In fact, at my performance, there were some distinctly sour notes in her otherwise nicely conversational approach to “People.” The later ballads, “Who Are You Now?” and “The Music That Makes Me Dance” went much better.


But listen to Mimi Hines on some of the “Funny Girl” items on YouTube, and you can hear that, though she’s no more like Fanny Brice than Feldstein, she vocalizes the songs powerfully. And she was genuinely funny in the role. Some years later, I also caught a memorable production at the Paper Mill Playhouse with Leslie Kritzer highly satisfying as Fanny.


Streisand won the role originally not only because of her prodigious talent, but because of similarities -- both genuine and exaggerated by her managers at the time --  to Fanny Brice. As the years pass, there seems to be less and less effort to play the role authentically. The Fanny of “Funny Girl” may as well be a totally fictitious character, no more like the real Fanny than blond Alice Faye in “Rose of Washington Square” (for which Brice sued and won over similarities to her life story). 


There’s enough of Brice on film and record to allow for verisimilitude in casting and performance Not all of Jule Styne’s score would lend itself to the authentic Brice treatment but surely some of the numbers (e.g. “Sadie, Sadie” and “Rat-a-Tat-Tat”) could be done in the Brice manner. What, I wonder, would Frances Stark (Fanny’s daughter and wife of original producer Ray Stark, who had the final say-so in the original casting), have made of the current portrayal? 




Mind you, Feldstein’s a total pro, and a wonderfully likable performer. Her reading of the songs is intelligent and, like Smith in London, she veers completely away from Streisand’s phrasing and vocal mannerisms. Nonetheless, hers is not a voice that elicits wows. And she doesn’t convey the inherent warmth and sly comedic charm of the real Brice. It’s an OK performance, but it takes a huge suspension of disbelief to accept her as the legendary actual star of stage, screen, and radio that was Brice. 


West End and Broadway leading man Ramin Karimloo -- his part built up in Fierstein’s revision -- makes a dashing Nick, though his “Temporary Arrangement” production number seems like something dropped in from “Guys and Dolls.” The fictional Nick of “Funny Girl” is a complete whitewash as Arnstein, convicted for both wiretapping and bond theft, was still alive when the show was first done, and Lennart had to tread carefully in writing him. 


Jane Lynch makes the most of her role as Fanny’s mother, and is a delight throughout, sardonic and warm-hearted. Eddie Ryan, Fanny’s mentor, is dynamically played by Jared Grimes who taps up a veritable storm (tap choreography by Ayodele Casel), and (with Lynch) stops the show with “Who Taught Her Everything She Knows?”



Also beyond reproach are Toni DiBuono and Debra Cardona as Mrs. Brice’s poker-playing cronies Mrs. Strakosh and Mrs. Meeker. Peter Francis James as Florenz Ziegfeld and Martin Moran as Tom Keeney are likewise solid.


Mayer’s an accomplished director and, in all respects, one feels the production is in good hands. There are some “Follies,” the musical-like touches in the staging, as ghosts of Ziegfeld girls dreamily hover in the background as Fanny is thinking back on her life.


David Zinn’s scenic design accommodates the Henry Street tenements, Keeney’s Music Hall, the Brice/Arnstein home, and the Follies cleverly and attractively. 


Ellenore Scott’s choreography enhances Fanny’s breakout “Cornet Man” number, and the second act “Rat-a-Tat-Tat.” 


For all my grousing about the central miscasting, I must confess I enjoyed the show on the whole, as the wildly cheering audience clearly did as well.


(August Wilson Theatre, 245 West 52 Street; FunnyGirlonBroadway.com)


Photos by Matthew Murphy:


Top:

(l to r): Beanie Feldstein (Fanny Brice) and Ramin Karimloo (Nick Arnstein


Center:

Fanny Brice, 1910


Bottom:

(l to r) Jared Grimes (Eddie Ryan) and Jane Lynch (Mrs. Rosie Brice)






Wednesday, May 4, 2022

Mlle. Modiste (Victor Herbert Renaissance Project Live!)



By Harry Forbes

The ever-enterprising company dedicated to the works of composer Victor Herbert concluded its shortened season with one of his most popular titles, the 1905 “Mlle. Modiste.” This had originally been intended for the company’s French-themed season in 2019/2020, necessarily truncated because of the pandemic.


The musical’s titular heroine, actually Fifi, works in Mme Cecile’s hat shop in Paris. She loves Captain Etienne whose aristocratic uncle, Count Henri De Bouvray, won’t hear of his nephew marrying a mere shop girl. Fifi, originally played by soprano Fritzi Scheff who made a career-making splash in the role, has dreams of being a professional singer. A wealthy visiting American, Hiram Bent, becomes her benefactor. When she returns from England, an established concert artist, to sing at a charity bazaar, she charms the Count and she and Etienne are able to unite at last. 


Neil Gould, in his excellent biography of Herbert, makes the persuasive point that the show was genuinely groundbreaking in its integration of songs and script, and the accurate reflection of societal issues of the day (e.g. class distinctions, the role of women) make the work as innovative, in its way, as “Show Boat” was credited with doing in 1927.


Over the years, the work has had a decent number of airings in New York. It was revived by Light Opera of Manhattan in 1979, and by Mel Miller’s Musicals Tonight! In 2006. And this is the third go-round for VHRP Artistic Director Alyce Mott who first adapted the work for the Little Orchestra Society concert version in 2001 under the accomplished baton of the late Dino Anagnost. Then came another incarnation of the Mott version at Light Opera of New York in 2010. And now the present production which is the fullest account of the score and Henry Blossom’s original script, missing, I think, only some of the ballet music, and the act 2 opening chorus of footmen. 


Soprano Sarah Caldwell Smith, who had previously impressed with Fifi’s three-song medley, including the score’s evergreen  “Kiss Me, Again,” at a VHRP concert, played Fifi and brought vivacity and charm to the demanding role, including her second act showpiece, “The Nightingale and the Star.” The audience echoed the pleasure evinced by David Seatter as Hiram who watched her singing those numbers with genuine admiration. Seatter, who brought his usual dapper appeal to the role, got to sing the pleasing “Dear Little Girl Who is Good,” originally for the minor character of soldier Rene. (Some streamlining and juggling is forgivable as the original production had a cast of 85!)



Susan Case was amusing throughout as Hiram’s provincial wife, scoring vocally in the second act with her comic description of “The Keokuk Culture Club” back home in Iowa.


Mme. Cecile’s son, Gaston, whom she intends to marry off to Fifi, to keep her working in the shop, was well sung by Vince Gover who excelled with the amusing “Ze English Language” sharing some of the song with Mme. Cecile. It was curious to have both Gaston and Mme. Cecile suddenly affect French accents which they had not been using heretofore but it was surely the only way to make sense of the amusing lyrics, a French speaker’s puzzlement over English slang.


Hannah Holmes, subbing as Mme. Cecile for the indisposed Alexa Devlin, did a fine job as both the scheming proprietor and occasional narrator, that device a holdover from Mott’s Little Orchestra Society version.


Christopher Robin Sapp, who did so well in VHRP’s “The Only Girl” last month, had another fine outing as Etienne starting with “The Time and the Place and The Girl” and, in the second act, a superbly delivered comic number “Love Me Love My Dog,” originally Gaston’s. Gaston, in turn, was compensated with the cut character of Francois’ tuneful “I Should Think That You Could Guess.” Matthew Wages as the Count made the most of his one vocal moment, an outstanding and show-stopping “I Want What I Want When I Want It.”


Integrated dancing would not be part of a Herbert show till the 1913 “Sweethearts,” but Christine Hall designed some graceful movements for the musical numbers.  And Mott directed her cast with even greater facility than last month on the new venue’s larger playing area.


VHRP had its usual strong-voiced ensemble, including Stephanie Bacastow, Sarah Marvel Bleasdale, Charlotte Detrick, Mariah Muehler, Alkis Sarantinos, Andrew Buck, Keith Broughton, and Jonathan Fox Powers. And as always, there was expert musical accompaniment from Michael Thomas and the six-member The New Victor Herbert Orchestra (including resident pianist William Hicks), playing a satisfying reduction of the original arrangements.




Mott has already announced the 2023 spring season which will include “The Red Mill” (2/20, 2/21, 2/23), one of Herbert’s most popular, and a fuller version of her previously produced rarity,  “Cyrano de Bergerac” (5/22, 5/23, 5/24)


(The Theater at St. Jeans, 150 East 76 Street; April 26 and 27; www.vhrplive.org or https://vhrp-live.thundertix.com)


Top photo by Jill LaVine:

 “Mascot of the Troop” L-R: Back Ladies Ensemble, David Seatter (Hiram Bent), and Susan Case (Mrs. Bent)

L-R:  Jonathan Fox Powers, Keith Broughton, Sarah Caldwell Smith (Fifi), Christopher Robin Sapp (Etienne), Andrews Buck, Alkis Sarantinos.


Center photo by Sarah Caldwell Smith: 

Sarah Caldwell Smith (Fifi)


Bottom photo from John Guidinger Collection:

Fritzi Scheff, with drum and male chorus, “The Mascot of the Troop,” 1905