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The stellar cast in this what's old is new again production far outshines the material itself.  Director Jack O'Brien is forced to fill almost 3 hours (including 2 intermissions) with action.  The problem is, the characters are big, the acting is big, the set is big - the cast is big - but the material just doesn't measure up.

Just look at this cast:  Nathan Lane (Walter Burns), John Slattery (Hiddy Johnson), Jefferson Mays (Bensinger), John Goodman (Sherrif Hartman), Robert Morse (Mr. Pincus), Dann Florek (The Mayor), Holland Taylor (Mrs. Grant), Sherie Rene Scott (Mollie Malloy), Micah Stock (Woodenshoes Eichorn), Dylan Baker (McCue), David Pittu (Schwartz), Christopher McDonald (Murphy) plus about 9 other supporting minor characters!  Just take that cast in. Wowza.

Now as for the material - it's a 3 act play - unfortunately.  Act I should be scrapped.  It's useless and unentertaining and mostly unnecessary background material that could be established in about 15 minutes.  Act II gets off to a good start, bogs down in the middle and goes out with a "BANG".  Act III picks up the action but drags it out in the end to a very un-dramatic ending.  In a nutshell, the material stinks and should be re-writtin/adapted.

Theatrically speaking - the comedy was top notch - the assemblage of such fine actors above are able to pull off the physical and over the top comedy.  Nathan Lane is at the top of the bill.  Unfortunately, he doesn't appear on stage until the end of Act II.  Interestingly, twice when Jefferson Mays entered the stage, he got entrance applause which you could tell was because the audience mistook him for Mr. Lane (as did I).  Everyone recognized John Slattery and he gave a top notch performance - as he was really the lead despite sharing the bill with Mr. Lane.  Too much newsroom chatter and nonsense.  Not enough Holland Taylor and Dylan Baker (with a strange agent).  There was just enough time of the uber-dreamy Micah Stock - but someone has to decide what to do with that accent he puts on.  It's all over the map.

This huge cast must be a big expense - and it's a big theater with tiny seats so hopefully the star power will boost the ticket revenues.  But it's an uphill battle these days.   I saw it on a previews discount and was pleased at the value.  Full price ticket to even this show would be a disappointment unless you're just a star-stalker who just sees anything with someone.

CQ/CX

A power-packed, "Ripped From The Headlines" new play by emerging playwright, Gabe McKinley, is now playing at the Peter Norton Space on way-West 42nd Street.  This is the former space occupied by the Signature Theatre.  

Although I've seen it in previews, I can already tell this one is going to be a barn-burner.  The pace is quick, the wit is razor sharp, and story is focused.  Mr. McKinley, the playwright, actually worked at the NY Times.  CQ/CX is the fictionalized story of the Jayson Blair scandal and the damage he inflicted upon the Grey Lady herself, his friends, and his colleagues.  

The all-around brilliant cast aptly supports Kobi Libii's fine portrayal of Jay Bennett (i.e. Jayson Blair), hungry and aggressive young intern turned reporter who eventually self-destructed at the heart of the entire affair.  David Pittu takes the helm as Junior, the family member in a long and proud family dynasty who ran the publication.  Arliss Howard takes on the role of Hal Martin, new man in control, attempting to steer the behemoth ship into the 21st century.  Peter Jay Fernandez takes on the role of Gerald Haynes, the first African-American to rise to the senior ranks who by coincidence also becomes a sort of mentor to the young Bennett.  Larry Bryggman, Tim Hopper, Steve Rosen and Sheila Tapia fill in the ranks of colleagues and friends.

Just for reference, the title is Latin - CQ stands for cadet quaestio -which translates to "the question fails" and is an editors mark that is used when he questions a fact in a story.  CX is an editors mark for something that has been "corrected".   Hence the title, CQ/CX, is born out of the combination of the two and is quite relevant to the entire story

I enjoyed this show with a 20@20 ticket, but I'd go out on a limb to suggest it's worth the full price charged by the Atlantic Theater Company.

What's that Smell: The Music of Jacob Sterling

Although it's quite a farce, what a delightful, light, and tantalizing evening in the theatre it turns out to be.  Every now and again, one just needs to laugh - and that's just what David Pittu and Randy Redd have delivered.   

The show is run like a talk show of days gone by - ala Merv Griffin or Mike Douglas - with a slant towards the theatre.   It's a "must-see" cable access show called Composers and Lyricists of Tomorrow or C.L.O.T, for short - and it's hosted by Leonard Swagg (think Charles Nelson Riley!).  The main guest on this segment is a terminally up and coming artist with a tragically humorous life - Jacob Sterling.  

Leonard (Peter Bartlett) leads his guest, Jacob Sterling (David Pittu) through what could be called  a this is your life type interview - bouncing from one bad joke about the shows and music he has written to the next.  They top it all off with a tie-in to 9/11 - and it's hilarious, pure schlock, and never for one minutes lets you forget it either.    The show culminates in a new musical that Jacob Sterling has written by performing a montage of songs from the show using 3 of his young students  Paisley (Chandra Lee Schwarz), Eisenhower (Max Kumangai), and the uber-adorable, Jerod (Matt Schock).  

Everyone needs to laugh a little.  This show fills that bill and then some.  David Pittu has a knack for mastering his over-the-top characters.  This time is no different.  Saunter on over to the New World Stages and take in a performance of this gem.

Is He Dead?

Norbert Leo Buts - in Drag?! How could you go wrong?!! This romp at the Lyceum theater is a belly- laugh evening at the theater. Written by Mark Twain in 1898 , but apparently not published until discovered in 2002! It's lighter than most of his works - but what a treat!
The basic premise is the question of value. An artist's work tends to be worth nothing during his life - but becomes the "hottest" thing once he's dead. So let's see - - what could an artist do to change that? Hmmm... maybe fake his death, have his friends sell all his works at a premium price and then they all live happily ever after?! Voila! They've figured it out.

A great supporting cast - but Norbert (especially as his twin sister!) is a trip! He appears to be having fun the entire show. It brought to mind the days of the Carol Burnett show - watching Tim Conway, Harvey Korman, and Carol Burnett try to crack each other up on stage.
Don't miss this Winter treat!

LoveMusik

Roundabout - you are officially off the hook in the category of worst show I have ever seen. Please congratulate the Manhattan Theater Company - for producing a musical (bet they learn from this big mistake) that SUCKS!!

Donna Murphy - Brava! And I'm sorry you had to suffer thru this!

Hal Prince - the jury is out - bad material is hard to work with!

Beowulf Boritt - your sets were great - too bad nothing else was!

The Coast of Utopia - Salvage (Part III)

After $300, 9 hours, and cramped legs in those perennially undersized seats at the Vivian Beaumont - all Tom Stoppard left us with is:

"A storm is coming"

Are you kidding me? A few great performances (Jennifer Ehle, you and Brian O'Byrne were GREAT!) from the large cast were nothing compared to the sheer boredom of having to sit and muddle thru endless ramblings of the playwright. This, of course, is not the actors' fault. Kudos to the fine cast.

Lincoln Center Theater - all your 87 year old patrons are all going to die soon. That storm just might wipe you out at this rate. Step up your game!

The Coast of Utopia - Shipwrecked

Quite a difference from the first (Nov 2006) installment! More engaging. Thicker plot. Less Boring. While Ethan Hawke dominated the first installment (Voyage), this time Brian F. O'Byrne took charge(Shipwreck).

Russian history seems to make just a little more sense now. Even after spending $300 on the whole saga, I'm still no expert on philosophy and intellectualism in Europe in the 1800's.

The Coast of Utopia - Voyage

It's big. It's Complicated. Russian history on broadway. Only Tom Stoppard could pull this off. 'Tis an agressive production of Lincoln Center Theater. Voyage is part 1 of 3 parts. 3 hours each - oh my. Packed with stars, but will it pull the audience in? I doubt it will. Theater afficianados, yes, but beyond that, i doubt. There are plenty of stand-out performances, but overall, too complex for this theater-goer.

 The verdict is still out, but I hold little hope that it will catch much more of my attention.