Women on the Verge of a Nervous Breakdown

Wow!  And this was only the 13th preview performance.  That says a great deal all by itself.  What a huge risk this could be.  A new, technically and theatrically complex musical opening cold in New York - no out-of-town tryout.  Talk about a risky proposition for the producers and investors and not to mention the stars themselves - and there are a lot of them packed onto the stage at the Belasco Theatre.  Rest assured, my loyal readers, this one is going to be a great big Broadway hit!

Where to start?!  First of all, this show is based on Pedro Almodóvar's 1988 film by the same name.  By way of background, you have to know that the style is supposed to be a little cheesy.  It's a story presented in the telenovela style - colorful, over-acted, and generally bold.  Stop right there.  Translating that to the Broadway stage is a feat all in itself.  Mr. Sher (director), Mr. Gattelli (choreographer), and the entire production staff have taken on the challenge and presented those three characteristics back to us in virtually every aspect of the production - the lighting, the scenery, the video, the sets and the costumes.  That in itself is worthless with the wrong actors.  Inside those costumes, under those lights, and on the stage is a an eclectic collection of the most talented actors you might find assembled in one place today.  Patti Lupone, Brian Stokes Mitchell, Sherie Rene Scott, Laura Benanti, Danny Burstein, de'Adre Aziza, Justin Guarini, and Mary Beth Peil headline the massive undertaking and seem to defy the notion that there can only be one star in a show.  Each of them holds their own but together they are a powerhouse ensemble.  


Other than what was written into the script, I never felt any dueling divas on stage.  Each of them has their "moments" in the spotlight.  All of them complement each other.  Ms. Lupone has her bare stage moment in the spotlight along with a show's worth of light hearted Spanish diva moments.  Justin Guarini, in his Broadway debut,  proves he's got acting chops while getting the opportunity to showcase his amazing tenor voice.  Brian Stokes Mitchell fills the theatre with his perfectly pitched, powerfully melodic baritone vocals.  Laura Benanti might possibly be the next show stealing comedic actress of the season (ala Katie Finneran in Promises, Promises last season).  Sherie Rene Scott takes the lead as a  Brunette (most recently we saw her natural blond side in Everyday Rapture) and doesn't fail to entertain the entire show.  The entire cast works well together - constantly in motion, constantly in chaos and constantly on queue and pitch perfect.  

On a related note, I must also note that this is the first production to be staged at the Belasco Theatre after its extensive and first class renovation.  The wood paneled, marble clad and Tiffany stained glass filled theatre has been restored to its full glory and what a marvelous show to use as the vehicle to reveal the fine artistry conceived for theater impresario David Belasco in 1907. Technically speaking, I've never seen a more modern stage.  Digital lighting, video projection systems, hydraulics, extensive scenery fly-in capacity and a sound system to rival all others are among the many improvements that are clearly taken advantage of in this production.   


Does the show need some work?  Of course - no show is perfect out of the gate.  Nips and tucks needed here, choreography cleaned up there.  But at the 13th preview, this show and all its moving parts is far ahead of where most would be at this point.  Women on the Verge of a Nervous Breakdown is cleared for takeoff and we get to enjoy the in-flight entertainment.

Passing Strange

The latest resident at the Belasco Theater is unabashedly an un-broadway un-musical; Passing Strange: A New Musical. Sounds like a recipe for disaster, at first glance. Part rock concert, part rock opera, part comedy, part drama, part performance art, Passing Strange, however, uniquely crafts all those elements into one thoroughly entertaining theatrical experience.

It's the semi-autobiographical experience of the star and creator of the show, Stew. He's the narrator, the rock-band leader, and the storyline itself. In just under 2 1/2 hours, we follow one man's journey growing up black in LA, his escape to Europe, searching and struggling for who he is and what skin he is comfortable living in. It's about the parent child relationship - and the lessons we often learn too late in life. It's about searching for the elusive "real". It's about art and life and where the two diverge... and where they collide.
The cast is a bubbling cauldron of young, hot talent (and by hot, i mean smokin' hot!) - Daniel Breaker (the young Stew), De'Adre Aziza, Eisa Davis (Mother), Colman Domingo, Rebecca Naomi Jones and last but certainly not least, Chad Goodridge (when i say smokin' hot - I mean Chad please step to the front of the class!).

Stew narrates the show from center stage all the while playing his guitar, leading the surrounding band strategically placed on stage with him which includes musical co-creator Heidi Rodenwald.

There are no elaborate sets or scenery - unless you count the visually stunning Tony Award deserving wall of lights - which is unveiled as the young man lands in Europe where he begins his journey stumbling into love, sex, drugs, art, family, and plenty of music along the way.

Stew takes us on a journey unlike any other yet seen on Broadway. Hair may have been the original ground breaking musical, Rent and Spring Awakening did indeed take their place in the evolution of the American musical, and now Passing Strange is here now and is ready to sweep us up on a magical journey.

Don't miss the bus!

Doris to Darlene - A Cautionary Valentine

Jordan Harrison is cute - and by the way - he has written a gem which is now playing at Playwrights Horizons . Doris to Darlene, a cautionary valentine is delightful. It requires little advance explanation except to say that Jordan has penned a tale in which music, art and love transcends 3 different eras.

It's told to you like a story - often in the 3rd person - from the perspective of 3 seemingly very different young boys and girls. Wagner and King Ludwig II (the 1800's) , Doris (Darlene) and Vic Watts (1960's) and Mr. Campani and "Young Man" in classroom (current).

What on earth could these people have in common? You guessed it - Music! Each story for it's own era has a different twist but music and love and art permeate each. Young King Ludwig II (Laura Heisler) funded the older Wagner's (David Chandler) musical endeavors (Operas) and was deeply affected and influenced by the deep emotions and splendor he created. Doris, or Darlene as she became, ( de'Adre Aziza) was a creation of Vic Watts (Michael Crane) a "Phil Spector like" music exec in the 1960's. In this story we see a glimpse into the all too familiar story of a young black girl brought to overnight fame by a high flying music exec who fell in love with his client (or was it her music?). Lastly, we witness a young, gay high school boy coming of age (Tobias Segal) who becomes infatuated with his music teacher - a complex older gay gentleman with his own set of issues and desires (Tom Nelis).

Two acts - one hour each. Act I could probably be a bit shorter and crisper - which would make Act II even better. By far Act II is where the story unfolds and the dots are connected on the brilliantly designed ever circulating set (just like a spinning record) among the 3 stories.

Get out your running shoes out. This gem is not to be missed!