Hello Dolly!

Wow, Wow, Wow.  Dancing waiters, gorgeous gowns with gloves, gorgeous sets, fun, frivolity, and a magnificent score by Jerry Herman!  What more could you ask for in a decadent evening at the theatre?  Well, it only gets better when you add the delicious (this July only) Donna Murphy (Dolly Gallagher Levi), the fun and wacky David Hyde Pierce (Horace Vandergelder), the dapper and debonaire Gavin Creel (Cornelius Hackl), the darling and dashing Taylor Trensch (Barnaby Tucker) and the delightful Kate Baldwin (Irene Malloy) along with an ensemble the size of a small town.

This classic made famous by the indomitable Carol Channing roars back to life on Broadway this spring to pure delight.  Sure, the show is old fashioned, but isn't this just what the doctor ordered these days?  The characters are silly, the songs are lush, and the dancing is delicious.  Dolly plods on thru to get her man and makes a few matches along the way from Yonkers to New York City.

I opted to see Ms. Murphy on purpose and she didn't let me down with her spunk, pluck, elegance, and raw talent for playing a character.  Wow, Wow, Wow is an understatement when it comes to this show and this production does not disappoint - the lighting, the sets, the olios (canvases with murals painted on them), the costumes and color along with the music all contribute to the non-stop feeling of exuberance and joy this show brings to the audience.  When we get to the title number in Act II the audience has already contemplated an ovation twice before and at this point it is virtually un-stoppable.

Dolly, whether Ms. Murphy or Ms. Midler, is indeed back where she belongs.  Wow, Wow, Wow!

A Life

A powerful, humbling new play, A Life,  by Adam Bock is now playing over at Playwrights Horizons.  Mr. Bock explores life through a lonely, gay, introverted, quirky, and obsessive character, Nate Martin (David Hyde Pierce).  Not only does he explore his literal life, he explores the fleeting nature of life through his death.

Nate Martin is a complicated man yet at the same time, he's every man.  Frustrations, disappointments, plans, hopes, loves, dreams fill his life.  In the blink of an eye, things could change - and do.  About half of the play is spent watching Nate's body prepared for a funeral.  Life goes on around him, we hear his thoughts, and realize that it is all fleeting.

Nate is into astrology - the stars and planets and what they say about you and how they might explain your life.  To be honest, I'm not sure if that theme was meant to represent religion and its role in the human experience or possibly something more specific to Nate's belief system.  I do know there were no planetary realignments when he died so perhaps it just represents something that in the end, like everything else, is meaningless.

A touching, honest, and sad first scene; A shocking next turn of events with a dash of today's culture of inappropriateness thrown in just to make you shrug your shoulders; and a touching and brutally honest eulogy seen at the funeral capped most specifically by the thoughts from his mostly estranged sister (he was gay and from Minnesota and her comments were dripping with mid-western values and a complete lack of understanding, disappointment, and ultimately and ironically the same loneliness).

There's a funeral joke told by his best friend Curtis (Brad Heberlee) that you can't help but laugh at and at the same time makes you cringe.  Perfectly placed and such great acting around the uncomfortable nature of the whole affair.

White Rabbit Red Rabbit

Quite possibly one of the most mysterious, unique, and highly secretive show running today, White Rabbit Red Rabbit, for the un-initiated, is a play performed sight-unseen by an actor only once.  The script is handed to the actor on the stage and off-we-go.  Now there's no preventing anyone from googling the show and figuring out the premise and general plot.  Heck, I'm sure there is a full transcript out on the Internet somewhere.

No spoilers here.  But my advice to you is to go see someone you like.  Someone who is a fairly good story teller and can handle the spontaneity of interacting with the audience and reading at the same time.  I would imagine the producers (Tom Kirdahy and Devlin Elliott) pre-select for these qualities - but it is up to you to choose someone you really want to see read you a story.  

My chosen actor was the adorable and lovable David Hyde Pierce and I regret nothing.  Mr. Pierce was genuinely interested in the on-the-fly evening, did not appear overly prepared and gave us an enjoyable, engaging, and seemingly authentic read of the extremely unique play.

The play is written by Nassim Soleimanpour, an Iranian playwright who refused to do his national service so he could not get a passport.  Instead he wrote a play that could travel the world without him.  He requested a different actor do the show each night and that people email him about their experience (during the play).  His message in the play is one told through the use of a sort of science or experiment using white and red rabbits and after you clear through the messy script has a message.

The message is confusing, but potent.  The story is choppy and a bit messy and unfocused.  But if you listen carefully you can really hear a young Iranian playwright vigorously trying to convey an important message through an unsuspecting, un rehearsed actor on the stage with a little help from the audience.

The Landing

I went for another peak inside the development lab of a new work over at the Vineyard Theatre.  Rule #1 - Thou shalt not blog about a work in process.  Rule #2 - Enjoy yourself.  Just know that the music by John Kander and book/lyrics by Greg Pierce is darkly delightful and we should all look forward to seeing it grow into a full-fledged production in the future.  This production included David Hyde-Pierce, Julia Murney, Jake Bennett Siegfried, and Paul Anthony Stewart.

This is Greg Pierce's first collaboration with John Kander and for John Kander it's his first musical collaboration without his long-time writing partner, Fred Ebb.

Close Up Space

Molly Smith Metzler is an award winning playwright from Brooklyn and she's written a charmer that is now being presented at Manhattan Theatre Club (MTC) on the small stage at NY City Center.

The play, Close Up Space, revolves around Paul (David Hyde Pierce), an intelligent literary editor and his estranged and odd daughter, Harper (Colby Minifie).  The title cleverly refers to an editing/proof-reading symbol - as in "shorten this up and remove some words (the verb to close, pronounced with a 'z').  You learn fairly early that something is amiss with his family and his daughter is quite upset with his actions.  Throw in a Saturday Night Live-like office manager, Steve (Michael Chernus), a well-published spit-fire (albeit mis-cast) author, Vanessa Finn Adams (Rosie Perez), and an innocent and smartly cast office intern, Bailey (Jessica DiGiovanni) and you have the makings of a sweet treat.

However in making that sweet treat, if you use the wrong ingredients or switch the salt for sugar you're in for a disaster.  Such is the case under the reign of Barry Grove at MTC.  Ms. Perez, while entertaining, is an over-used, mis-cast character actress in the role.  Mr. Chernus, while very funny and his character's arc cleverly designed, was overly so - to a point beyond satire to that of absurdity and farce.  Ms. Minifie's defects were perhaps one of the few that can be associated with the author  - taking the "I've been exiled to Siberia" analogy way too far.   David Hyde Pierce worked his magical reactions, facial expressions, and character acting the entire time and essentially rescued this one from falling into the abyss.

Mr. Grove - your audience is somewhere between 40 and death... much closer to the latter, i estimate (maybe because your subscriptions are relatively cheap) and your play selection, while admirable, just haven't seem to cut it in the past few cycles.  David Hyde Pierce may just have prevented this one from becoming the next one to fall off the cliff, but you've got to to a little better or once the purple haired audience ends up in those coffins, you're going to have a lot of empty seats in those wonderful theaters you manage.

La Bête

This is a tough one.  Intelligent and erudite - certainly.  Bombastic and overblown - possibly.  Funny and witty, I think so.   Roll these descriptors together and you might just find La Bête.  American playwright, David Hirson penned an entire play in iambic pentameter - Above my head at times, biting and below the belt at others - you got it.

Make sure you don't go in thinking this is a simple or light play.  I think (but don't really know) that this show may have had two acts originally.  I thought there was a decisive split between two halves of the play - although probably compressed into a nearly bearable 1 hour and 45 minutes for this Broadway run.   Three stars, David Hyde Pierce, Mark Rylance, and Joanna Lumley helm this production and turn in quite substantial performances.  The first half of the play is somewhat long and verbose (verbose may even be an understatement).  The second half, when the princess (Lumley) makes her entrance is a bit less of a verbal assault and more of a story.  It actually contains a play within a play - which at its core is where the themes of artistic purpose, the dumbing down of art for the masses, and artistic purity are explored.  From the start it pits highbrow Elomire (Pierce) against lowbrow Valere (Rylance) and the sparks (read words) fly throughout.

If words are not your thing - you may not enjoy this play so much.  The stars certainly delight, and if you calculate your price of admission by words spoken - you certainly will have gotten your money's worth.

Curtains

This Kander & Ebb - Rupert Holmes musical is a gem. It may not be as flashy-dashy as Drowsy Chaperone - but it does one thing well - it entertains.

The show numbers are big and bold - lots of high kicks and toes-a-tappin' during the many rousing full cast numbers. What more would you expect from a "show within a show"? The basic plot goes something like this... A (pretty bad) show is being rehearsed and there are a few murders (yes, one might expect Jessica Fletcher to show up!). The investigation traps the entire cast, crew, producers, and director inside the theater. While the mystery unravels - the police lieutenant lives out his fantasy by "improving" the many numbers and scenes ultimately making it a success (and solves the murder mystery too!).

One can't help but also detect ever so slight references to songs and shows of days gone by... is KansasLand a spoof of OKLAHOMA!? Do we see the budding romance of the lieutenant and a cast member get played out in a fantasy dance ballet that resembles a Fred Astaire and Ginger Rodgers number? Does Show People have it's roots in Annie Get Your Gun? Probably so - and there are probably more that this theater novice just didn't pick up on!

It's goofy and silly and fun all around. I might say that while David Hyde Pierce (the lieutenant) loves the stage and is a great comedic actor - he's not much of a singer or dancer. Debra Monk plays one of the show's producers and I have to say - You can hear a little Ethel Merman in her. She commands the stage with her character's powerful personality and biting wit. Edward Hibbert - as old as he is - simply steals the show as the stuffy, witty and cantankerous director. And you can never mistake the voice of Ernie Sabella - bellowing all the way off stage for his enterance. Yes, even the orchestra conductor has dialogue and a song to sing!
Yes, a bit campy. Yes a bit "old fashioned". Yes, not the "best" show you've ever seen - - but the supporting cast brings the house down with each company number. I did see it at its first preview so maybe they'll tighten up the show, cut some dialogue, and contain the energy. If they can keep you tapping from 8:07 to 10:15 after opening night they might have a pretty good run of it.