Snow Geese

Headliner, Mary Louise-Parker, may be listed first in the cast due to her star-power, but this one's got a true ensemble cast - every single one of them superb actors from start to finish - including MLP.

I didn't even recognize the fantastic Danny Burstein as Max, the older German Uncle or the lovely Victoria Clark as a tightly wound religious Aunt.  But even more impressive were the two sons - newly enlisted soldier and eldest, favored son, Evan Jonigkeit (Duncan) and younger, less favored and quietly smarter son, Brian Cross (Arnold).

The chemistry between Duncan and Arnold was remarkable.  Despite their mother's lifetime of overt differing treatment, we see just how the family will survive after the death of their father, Teddy (Christopher Innvar).

Striking sets, interesting and often funny dialogue pepper the evening and at 2 hours 20 minutes (including the intermission) was timed just right.

Bravo on your Broadway debut Brian Cross! We definitely need to see more of you.

Porgy and Bess

To the delight of every audience member, the orchestra at the Richard Rogers Theatre roars to life from the first bar of the George and Ira Gershwin and DuBose and Dorothy Heyward's luxurious operatic musical, Porgy and Bess, and completely fills every nook and cranny of ornate theatre on West 46th until the very last bar 2 1/2 hours later.

Norm Lewis (Porgy) and Audra McDonald (Bess) turn in flawless performances along with a top-notch ensemble cast including the devilishly slick David Alan Grier (Sporting Life).  The stage is simply and appropriately shabbily adorned and the costumes are equally appropriate and well designed for the period.

Adapted by Suzan-Lori Parks and Diedre L. Murray, the story moves us swiftly through the poor neighborhood of Catfish Row in Charleston, South Carolina in the late 1930's and weaves a hopeful yet sad tale of the poor black residents who form a deFacto family to both provide for each other and protect each other.  The story and this adaptation displays their strengths and weaknesses, devotion, and desires with aplomb.

Superbly orchestrated, the show is simply a magnificent example of an appropriately refreshed revival with all its roots firmly grounded in the original.  Don't hesitate for a single minute in getting your tickets.   The price of the ticket is well worth the value received in return - and as a matter of fact, Tony-nomination worthy performances aside (one for each of the leads and many more i predict), the focus on the orchestrations and execution by a full and robust orchestra in the pit is worth the trip alone!

The People In The Picture

Too Cliche?  Maybe.  Another installment in the "thou shalt never forget" series?  Perhaps.  Delightfully entertaining?  Absolutely.   In any other season, I think this show would be receiving above average acclaim.  Well, at least it would be receiving reviews that said "if you clean up Act I and speed up the dying old lady scene in Act II - you're got a hit on your hands."  But alas, strong competition this season has placed this possibly underrated show on the back burner.   It's either that or we're just tired of the the genre.  You decide.

Donna Murphy (Bubbie/Raizel) is sublime.  Clearly the star of the show.  Clearly the mistress of character acting.    I can't say anyone else in the cast was a stand-out, but they were a strong ensemble and put Bubbie on a golden pedestal the entire evening as she seamlessly slid between her younger self in 1935-1946 Warsaw, Poland and her older self in New York circa 1977   Overwrought with Yiddish and old Jewish humor, perhaps, but that's the story, for heaven's sake.  I have a few friends who actually saw it early in the run.  They got very bored during Act I and left.  They never found out who, exactly the people in the picture are.  Alas, the story is about the title of the show and Act II cleverly reveals all.

Sets by Riccardo Hernandez  - a decent job at recycling previous Roundabout materials.  And heaven knows, the Roundabout must have invested a boatload in the video projection equipment for Sunday in the Park with George and Brief Encounter - so why not drag it out again.  But since there's money at the Roundabout - it's always a top notch, class-act.  Costume and lighting - up to the usually high Roundabout quality too.

So who are the people in the picture?  I won't spoil it - you'll have to get your own ticket and let the divine Donna Murphy tell you herself.   Tape recorders, at least in the audience, not allowed.

110 In the Shade

For those that do not know (like me), this is the musical version of the play The Rainmaker. Although a bit dated, not stale. Audra McDonald plays Lizzie Curry, the middle aged woman who is too smart, honest, and plain for the likings of most of the men in her era - 1936 in the Texas Panhandle. A con man, Starbuck, comes to town (the rainmaker) in the dead heat of the summer and promises to make it rain (Steve Kazee). But what he does instead is to stir up the emotions and passions in the town and awaken dormant love.

H.C. Curry - Lizzie's caring and doting southern father is played by the delightful John Culum. Her two brothers are played by Chris Butler (Noah) and the incredibly adorable Bobby Steggert (Jimmy).

I must say that the musical seemed a bit "forced". Music popping up here and there without an overriding consistency and cohesiveness. And visually, i was not always connecting with the idea of family given the mixed race cast. I know I was supposed to look beyond that into the story, the art and music, but it was a constant visual disconnect that I kept coming back to.

Audra also seemed to struggle with her powerhouse classical voice (it is one of the best there is!) juxtaposed against the need for a plain and poor southern accent Lizzie's character required. One of the biggest delights of the evening was indeed her amusing rendition of Raunchy.

Audra is an extremely talented young woman and certainly deserves a Tony nod for this performance, but i just don't think this show is a vehicle for her to win in 2007.