On the Twentieth Century

And the Tony goes to.....  yes, this one is a shoe-in for a nom... or six... and we'll just see who they are up against for the wins.  Warren Carlyle (Choreography) has got to be on the nominee list for his craft.  And let's not leave out Scott Ellis (Director) for his craft.  And don't think for a minute that Kristin Chenoweth is not a shoe-in her category.  Peter Gallagher just might be on the list too.

With an introduction like that - what's left but just the entire ensemble.  I have been saying since intermission of the show that this is perhaps the hardest working, singing, dancing, and entertaining ensemble that is currently running on Broadway.  It's seriously THAT good.
On the Twentieth Century is actually a musical by Comden & Green with music by Cy Coleman which is an adaptation of a play, Twentieth Century by Ben Hecht and Charles MacArthur based on the unproduced play Napoleon of Broadway by Charles B. Millholland, inspired by his experience working for the eccentric Broadway impresario David Belasco. Well that's a mouthful!
It's a good old-fashioned Broadway musical.  That alone doesn't guarantee success.  This production, however, goes every extra mile to ensure the delivery is crisp, bold, smart, and rhythmic. From the invisible orchestra to the tap dancing Porters (Rick Faugno, Richard Riaz Yoder, Drew King, and Phillip Attmore), to the show-within-a-show type story, this show has razzle, dazzle, sequins, slapstick comedy, Mary Louise Wilson (Letitia Peabody Primrose) and the audaciously sexy Andy Karl (Bruce Granit).

I never doubted for a moment that Roundabout's sets (David Rockwell) and lighting (David Holder) would be magnificent.  They were.  Costumes were simply lavish perfection (William Ivy Long).

From the moment the perfectly costumed and supremely gorgeous porters tap danced onto the stage until the very end when, all in white, the cast returns to the stage not a minute was ill-spent.  Every single minute was filled with a laugh, a song, or a dance.  Every single minute.

Get your ticket to board On the Twentieth Century today.  It leaves from Chicago to New York 8 shows each week.

The Mystery of Edwin Drood

OK, take a deep breath.  Ready?  This one is a mouthful.  A delightful, delicious, and audaciously entertaining mouthful.

Charles Dickens started a novel and died before it was finished.  Rupert Holmes (Book, Music, and Lyrics) thought it would be clever to write a musical that offered a cast - playing actors - who were playing actors - in a  musical where the audience would vote on the outcome of Dickens' novel in an interactive, "first-ever" theatrical experience.  Got all that?   Don't worry it's not all that complicated.  It's actually quite fun.

OK, so each of the actors plays and actor playing an actor.  For example, the stalwart, Jim Norton, plays the Chairman of the theatre company and then by proxy, Mr. William Cartwright in the musical.  Will Chase plays Mr. Clive Paget playing John Jasper in the musical.   And I could go on and on and on... This cast is one of those endless pools of talent both young and old - Stephanie J. Block, Jessie Mueller, Andy Karl, and living legend, Chita Rivera - just to start things off.

It's an entertaining, interactive, and fun Roundabout Theater Company production over at Studio 54.  Since the cast is intentionally interacting with the audience as their actor-characters, the joviality and camaraderie shines through and brings joy and delight - literally out into the audience and up in the mezzanine.  And at the end of act 2, you'll vote not only on who you think killed Edwin Drood, but a mash-up of other outcomes as well.

Well, I can't really tell you the ending.  While I haven't studied the book, i suspect there are a multitude of endings possible and ever more fun to be had rehearsing them all!

9 to 5

One of my annual guilty pleasures is a trip to another city to get an advance view of one of the season's out-of-town try outs for the "it" show in the upcoming season.  This year it was flight 1402 to Los Angeles to see Dolly Parton's new musical, 9 to 5,  at the Ahmanson Theatre.  As in the past, I will start this review with the caveat that an out-of-town tryout is just that - a tryout.  It's meant to work out the bugs and kinks; tighten up the show; change songs; kick the tires; change the dialogue and button things up for the eventual Broadway run.   Consider this a "sneak peak" rather than a review.  I want to be fair to the production.

Let's start at the top.  The book was written by the same person who wrote the movie screenplay - Patricia Resnick.  The beloved Dolly Parton wrote all the music and lyrics and Joe Mantello directs.  So  far, so good.   Since we all know the film - Who plays the Dolly Parton role (Doralee Rhodes), the Jane Fonda role (Judy Bernly), and  the Lili Tomlin role (Violet Newstead) you may ask?  At the helm of this new musical production are Megan Hilty (Wicked),  Stephanie J. Block (Wicked, The Pirate Queen) and Allison Janney (A View from  the Bridge, TV's West Wing).  Franklin Hart is played by Mark  Kudisch (The Apple Tree, Chitty Chitty Bang Bang, Assassins, Thoroughly Modern Millie).  A fine supporting cast is rounded out by Andy Karl as Joe from Accounting (Legally Blonde, Alter Boyz, Slut), Kathy Fitzgerald as Roz 

(Damn Yankees, The Producers) and Ann Harada as Kathy the office-mate (Avenue Q) and my secret favorite, Van Hughes as Josh (Saved, Hairspray).  

Once again, it seems we all know the film (did anyone reading this blog not see it?)  - and this production makes no apologies for taking much of the dialogue direct from the movie to the stage - with much success. As a matter of fact, the entire story is pretty much taken in its entirety with only minor changes needed for an adaptation to the stage.  All you cult followers won't be disappointed.  ("I'll get that gun and I'll change you from a rooster to a hen with one shot"!).   

Musically, who doesn't adore Dolly Parton?  What fun she's often admitted  about writing this show.  The pastiche of musical number she churned out have something for everyone - a little country, a little rock and roll, and a whole lot of Broadway - all of them with a dash of Dolly!

The show runs the standard length - 2 1/2 hours with one intermission.  The dynamic sets on this particular stage (the Ahmanson is a newer, auditorium-like theater) were flown in, pushed up from below, slid in and out from the sides and turned inside out to create an ever 

changing flow to the numerous scenes (the outer office, Mr Hart's office, and his home just to mention a few).  Digital video was used effectively on the rear wall of the stage to convey the city-like atmosphere during several scenes.  I hope this stays.  Thankfully this will  be staged at the Marriott Marquis Theatre in NYC so one would hope that the same inventory could be used for the Broadway run.  

Now, let's talk about the talent.   Megan Hilty has already earned my vote for a Tony nod.  Hands down she steals the show.  She's really playing Dolly, playing Doralee - and she does it to a tee - the voice, the body, the hair, and the mannerisms.   Perfection.   Stephanie J. Block plays her own version of Judy Bernly.   A little more timid, a little more wholesome than perhaps you might remember Jane Fonda playing it.  With a powerhouse voice and the comedic timing she has - it all seems to work.   Now, onto a tough call.  Allison Janney has the comedic timing and delivery of a pro.  But this is a musical.  You have to be able to sing too. Unfortunately that's not something in her box of tricks.

She makes a valiant effort, and really pulls out all  the stops in Act II with One of the Boys, but if this show has any Broadway staying power - she's got to go.   Donna Murphy?  Are you available??  In a show that you can find little wrong with - she sticks out like a sore thumb.   I love her dearly and it pains me to say it -but she's got to go.

The show still takes place circa 1979 - but i have to say the costumes are not as retro as they could be and nobody seems to have the "big hair" that screams 1979.  I see some improvements to be made there.   Again to the modern stage at the Ahmensen - I hope the digital lighting here can be replicated at the Marquis to produce the same dazzling effects (The clapper.  That's all I'm saying).  

As a general note - this show loads of fun.  I see only minor opportunities to "tighten it up". One thing that did irk me was the continual use of the offstage chorus.  Why couldn't they

be on-stage if they were being asked to sing?   In ever thought it would be inappropriate or distracting if they would have been on-stage.  The fact that they were not on stage yet we were hearing them was, however.  At times, it only served to remind me that maybe they were doing this to compensate for Janney.  

I think the buzz is all good.  This production closes on October 19th in LA and previews begin in New York City on April 3rd.   If you see one show this season - make 9 to 5.  It's enough to drive you crazy if you let it!

For those of you who just can't wait - here's a sneak peak:

Legally Blonde

This might just be the Best Musical of the Year! Okay, it's a little "light" on the intelligence scale, but it rocked the house! I do still hope that Ms. Ebbersole winds for Best Actress in Grey Gardens - but I have to say - Laura Bell Bundy is going to give her a run for her money!

Yes, it's based on the movie - need i say more?

The supporting cast is large - and full of bubbles and energy. This is Jerry Mitchell's directorial debut on Broadway - an accomplishment that may not go down in the history books - but he also choreographed the show - and sensational describes that aspect of the show.

One thing this show requires is non-stop action, movement, glitz, pomp, and Broadway show numbers - and that's exactly what we got. Jerry's signature was all over the show. The Greek Chorus girls, (great idea, Jerry) and the usual gratuitous number or two including shirtless boys, high kicks, frivolous costumes, and not one, but two dogs are part of making the show a huge Broadway success!

OMIGOD You Guys!! Don your best pink shirt and slip over to the Palace Theater - - you''ll leave with a smile on your face. If, from nothing else, watching Andy Karl strut his "UPS" self all over the stage. (Unfortunately, he wasn't one of the gratuitous shirtless ones!)

Slut - A Musical

Dear Andy Karl - -

You're talented, young, charming, oh-so-good-looking (hmmmm, i wonder why you got the lead role in a new musical entitled "Slut"??). But the primary question I have for you is "Why did you leave the smash-hit, Alter Boyz", to take it"?!

If you still have a chance - RUN BACK! Heck -go on the national tour!!

Now, i'm not saying it wasn't fun fanning myself with the "playbill" watching the sweat glisten all over that uber-sexy body (the tattoos make it even more so) for two hours (the theater's AC was on strike, just in time for first preview nite!).


Over at American Theater of Actors (read - low budget) I was slightly entertained, but left wondering why you took what is clearly a step down to some "B" material. Ok, you've got some talented cast-mates and it is the lead after all, but c'mon - the plot is a farce, the jokes, stale, and the humor, sort of "high school-ish". There were some bright spots, yes. I must admit i chuckled and hooted a few times. But just a few. But I digress... (Did I mention, you looked good with your shirt off??).

Yours truly,
Doug Marino ( a fan truly thankful i only paid TDF rates to see you sweat)

Alter Boyz

Ok, so you're looking for something light, something fun, something... different?! Well - take a trip to see the Boyz... "Alter Boyz", that is. It's cleverly written and played out dripping with sex appeal (oh my!). It's not irreverent, but it's not exactly "reverent" either... It's loud, it's full of pop music and "boys who love God" lyrics like - -

"Jesus called me on my cell phone / No roaming charges were incurred / He beeped me / He faxed me / He e-mailed my soul / and said: / til the day i'm dead/ that i must spread / His glorious word"

And let's not forget the boyz - They are a Christian rock band - with one Jew too. They are tender, powerful, but mostly full of energy and dripping with sweat from all the singing, dancing and prancing around the stage...(ok, not all of them can dance but you'll know just who has it in his blood the most!) Just the assortment of boys you would expect to be cast - something for everyone - i suppose you could say.

Dodger Stages - One of New York's newest performance space is Rockin' - and the "Alter Boyz" are something worth the price of the off-Broadway ticket. Go ahead and let them convert...er entertain you!!