You Can't Take It With You

Moss Hart and George S. Kaufman's stale and dated play is currently exploding (literally) on stage at the Longacre Theatre in a 3rd Broadway revival since it was written in 1936.  This is a commercial run that was somehow caught up in the non-profit theatre vortex of Roundabout Theatre Company at the same time (I'm sure this was another trick up Roundabout's leave to keep costs low by not having to produce an original work this season).  

While the plot is madcap (frankly, crazy), the mayhem level and star level on stage is quite substantial.  The only problem is that it's frankly too stupid with a rather banal message of simply "be happy".  There is a love story going on amongst all the hubbub and but the Carol Burnette and Saturday Night-like sketch and physical comedy simply overpowers the message and muscles its way through all 3 acts with laughter often the result but never much satisfaction past that.

The cast is huge and stars abound - James Earl Jones (Martin Vanderhof) could read the phone book and we'd all be happy and the role of the patriarch fit him age wise, but not quite stylistically.  Kristine Nielsen (Penelope Sycamore) simply knocked it out of the park with her physical comedy and infectious personality.  Annaleigh Ashford (Essie) was a bit too over the top for me as the incessant ballet dancing ditsy daughter, Mark-Linn Baker (Paul Sycamore) seemed lost in the overall mix for his talent level, Elizabeth Ashley (Olga) came in at the very end and it seemed her voice was straining to make sound.  Plus by the time she entered, the endless cast of characters parading on stage simply got me tired.  There were no less than 10 other cast members who all looked good and seemed to complement the ensemble but after a while too many characters are introduced.  I applaud a producer who undertakes such an ambitious production and employs such a large cast, but this old firecracker is a dud.  I could go on... as did the play for over 2 hours and 30 minutes over  three acts... but I won't.  

In traditional Roundabout style, the set was magnificent (kudos David Rockwell).  I do not think the actors were mic'd and it was pleasing to hear real people speaking in non-electonicized tones on stage for a play.

You could skip this production, save a few bucks, and leave the audience-going to the Roundabout subscribers who paid good money into their subscription only to find out they were subsidizing a commercial run of a Broadway production.

Kinky Boots

A great book by Harvey Fierstein, knock-out music & lyrics by Cindi Lauper and some fresh direction and choreography by Jerry Mitchell will surely turn this out-of-town tryout into an instant Broadway hit.

I caught this one in Chicago after only 2 weeks of live performances and already it's showing it has legs... (it better because those boots are very tall!).   Dreamy and boyish Stark Sands and the devilishly wild and coy Billy Porter take the helm of the movie to musical re-make and left no butts in any seats by the climactic end of the show.

Part La Cage Aux Folles, part Dreamgirls, part Priscilla Queen of the Desert, with a heaping spoonful of the original movie (based on a true story) this show takes a little bit of all that and turns it into an extremely entertaining, energetic, fun, and heart-warming evening in the theatre.

Look out New York - these boots are made for walking - all the way from Chicago to the Great White Way.  All you NYC divas better get ready for some competition.  These red boots are on fire!

Dogfight

A coming of age story (that's what we used to call bullying) of both boys and girls.  Tough.  Brutal.  Honest.  Powerful.

Joe Mantello and Christopher Gattelli bring Peter Duchan's Book and Benj Pasek and Justin Paul's music and lyrics to a brilliant life at Second Stage.   Lindsay Mendez, Josh Segarra, and Nick Blaemire and a large supporting cast bring a youthful innocence and believability factor to the characters all the while exercising their acting chops on some very fine material.

A summer treat.  Sets and Costumes by David Zinn were as good as they could be - every inch of vertical space was cleverly used given the 4 close walls of the theatre.

Look for this one in years to come on a bigger stage.  There's more potential just waiting to be exploited.

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!)