Something Rotten!

Ladies and gentlemen - we have a smash hit simmering on the back burner here.  No out of town tryout - straight to Broadway  - and after a mere 2 weeks of previews, this show has  already proven itself to to be a knock-out, smash (pardon the pun) hit!

Dream cast.  Brilliant writing.  A tap-dancing full company including the stars.  Raucous and rousing Broadway company numbers and top that all off with a story that's got heart.  What more could you ask for on stage - except maybe electricity and running water?

Vocal powerhouse Brian d'Arcy James (Nick Bottom) and adorably nebbish John Cariani (Nigel Bottom) helm the cast along with the "rock star" Christian Borle (Shakespeare).  This trio is nothing short of pure hysteria.  Mr. Borle showcases his trademark ham-it-up acting style with wild abandon and draws Mr's. d'Arcy James and Bartlett into his lair of comedy.

Speaking of comedy, the creators of this delightful gem, Karey Kirkpatrick and Wayne Kirkpatrick (Book, Music, Lyrics) and John O'Farrell (Book) have discovered the secret to an unflappable smash Broadway hit.  Inside jokes (Broadway), subject matter jokes (Shakespeare) and a whole lotta singing, tapping, and dancing in full company numbers.   The full company stopped the show no less than 3 times - in both Act I (after A Musical) and in Act II (after Something Rotten! and Make an Omelette).  I actually think it even came as a surprise to the company on at least one of the occasions.

The supporting cast is also nothing short of brilliant.  Heidi Blickenstaff (Bea) belts out a delightful ballad in Act I.  Brad Oscar (Nostradamus) is nothing short of mesmerizing as the Soothsayer who guides us through the journey "just a little bit off".  Gerry Vichi (Shylock) plays the old Jew to the hilt and Brooks Ashmanskas (Brother Jeremiah) quite literally steals the show right out from under its stars just about every time he is on stage.  And I mean every time.

This show is an homage to Broadway with its references and inside jokes (they come so subtly and quickly you'll miss many, but don't worry another one is on the way).  At the same time it is a parody about Shakespeare's work (down to the names of the characters in this show) and in yet another layer, a story about following your heart and sticking to your dreams.

I understand from exiting the theater that the ushers even have a little competition going on to identify all the musical and theater references within the show.  Now these people see the show every night and they're still finding hidden gems.

Seriously, the only thing you could ask for is a fresh Omelette on the way out of the theatre!

Bullets Over Broadway

I was moderately entertained.  Indeed, I was.  However, knowing what I know, I feel a bit cheated.  If I didn't know any better (as most of the out-of-towners who attend these sorts of big productions), I guess nothing would seem to of place.  In his new musical this season, Woody Allen chose to not create any original music for the stage adaptation of his film by the same name.  Seems odd to me.  Such a prolific and arguably successful director, actor, and writer - why would he omit such a core ingredient from a new "musical".  Oh yes, there was music, but it was all existing and just carefully selected, recycled, re-arranged, and plopped into the story.   It frankly hit a sour note in my book.  That aside, the music chosen seemed stylistically appropriate.  Nothing too bad.  Just not original.  Not fresh.

If music were the only problem with the show, I'd be inclined to overlook the issue mostly.  However, when you combine it with the problem of casting - Houston, we've got a problem.  Don't get me wrong, Zach Braff turned in a decent performance and I can honestly say that even for a Wednesday evening performance (after a matinee) it seemed he gave it his all.  But it just wasn't enough.  His character, playwright David Shayne, cries out for a performance by none other than the goof-ball Matthew Broderick.  The entire performance, from beginning to end, was delightful, but not excellent.  It was as if Zach himself invested in the show, so they felt obliged to give him the lead over much more appropriate choices (you'll get the reference once you see the show).  I don't really even know if the part was even offered to Mr. Broderick, but it certainly seemed to me that it should have been.

Nick Cordero turned in a tortured and hysterical performance as Cheech the gangster with a penchant for writing - including one steal-the-show number.  Vincent Pastore may have appeared as goomba Johnny on The Sopranos, but his stage presence is about as engaging and entertaining as a wet sponge.  Marin Mazzie's (Helen Sinclair) star power out-shinned just about everyone else in the production except, perhaps, for Karen Ziemba, whose talents seemed utterly wasted on Eden Brent, the adorable dog-carrying actress to whom that had to give a solo number in Act II just to make sure she didn't quit.   Helene Yorke (Olive) turned in a great performance, but once again, you felt the part was perhaps written for someone else - maybe, let's speculate, Katie Finneran.  Maybe it was, maybe it wasn't.  The show had a spectacular chorus of male dancers (think gangsters) and female dancers (think The Rockettes) both sets of whom dazzled throughout the entire show.

Uneven casting and poor choices by Woody with respect to music detract from what would otherwise have been another smash hit just like The Producers.  Maybe next time Ms. Stroman.  Given these challenges, this show is destined for mediocrity.

Promises, Promises

A long time in coming, the first Broadway revival of a 1960's classic.  A Neil Simon book, Burt Bacharah music and Hal David lyrics - how could you go wrong putting this one on?  Well, let me tell you - mis-cast the leads and don't update the book.

It's not like Sean Hayes and Kristin Chenoweth are not capable, they certainly are.  It's not like Rob Ashford is not a talented director, he most certainly is.  The problem is that we've picked "stars" to lead the show instead of the right talent.  Mr. Hayes is a comedic genius - not necessarily a singer - (although i must admit he's got a pretty decent set of pipes).  Kristin Chenoweth could possibly be one of the brightest stars on Broadway, but the role of Fran Kublick - questionable.

The dancers, the sets and lighting are all fantastic.  And if there's one person who steals this show out from under everyone - it's Katie Finneran.  With no more than 20 minutes on stage the entire time, she walks off to a virtual standing ovation right in the middle of the show.  Go figure.

Because this show is such a good romp and a light hearted love story - it's certainly worth seeing and the cast is certainly talented even if mis-cast.  I suspect despite the mixed and luke warm reviews, this one will last a short while.

Present Laughter

 
An endearing evening of Noel Coward was had by all.  It's light, it's gay (in both the old and new sense of the word), and it's funny.   Victor Garber proves once again to me that he can command the stage.  With a pinch of Harriet Harris and a dash of Brooks Ashmanskas, it only got better.

The play is often described as semi-autobiographical for Coward.  For sure, it's from another era - but with a cast like this and the fairly well written material - it doesn't seem stale - just the comedy of a by-gone era. 

The Ritz

Terrance McNally took on a controversial topic in 1975 on Broadway with the debut of The Ritz - a gay bathhouse! Well in 2008, it's not quite the same "gasp" from the audience regarding the topic. The movie was made shortly following the Broadway debut - staring Rita Moreno and Jerry Stiller. Coming back to Broadway in 2008 we find Kevin Chamberlain and Rosie Perez headlining the show.

Well - it's funny. And the shirtless young boys roving around the clever multi-level bathhouse set certainly hold your eye. But the show more reminded me of a marginal episode of Three's Company or Laverne and Shirley.

I did also enjoy the cabaret performances- which i have come to understand are meant to remind you of the starts to the careers of such singers at Bette Midler at the Continental Baths. Notwithstanding the farcical plot, I'd advise getting a discount ticket to see it. It's worth some moderate price just to make eye contact with one of the boy-babes roaming in and out of the steam room.

Gypsy