Wonderland

In less time than it has taken me to type this first sentence (including erasing and re-typing the two typos I have already made) the story of Wonderland (A New Alice.  A New Musical) is fully told.  Yes, in about 37 seconds, the entire plot of the show is thrown on the table and then you are stuck there for over 2 more hours waiting... praying... for something... anything to happen.  Were it not for the brilliantly hued lighting and video projection effects (Paul Gallo and Sven Ortel), the masterfully crafted and elaborate costumes (Susan Hilferty and Tom Watson) and some of the music (Frank Wildhorn and Jack Murphy), I think I just might have slit my wrists right there in the 6th row, Orchestra.

Don't get me wrong, the concept is intriguing - how will they modernize Alice?  What will she do?  Who will she meet when she falls down the rabbit hole?   The answer is, they don't, nothing, and nobody new. It's the same old story with exactly the characters you might expect to meet - except they have turned the show in to an American Idol-like scene by scene, pedestrian performance piece. Schlocky characters speak in fairy tale double-talk, make veiled theatre references, upstage each other on purpose, steal song-bites and references from other shows, and expect us to laugh at the result.

As for the talent - it's decent - if not unknown, virtually all around.  The caterpillar, E. Clayton Cornelious, is a smooth, sultry, soulful character.  El Gato, Jose Llana, turns up the Latin heat even if he does resemble Freddie Prince reincarnated on stage.  The Mad Hatter, Kate Shindle, a tall drink of water, acts mean, but lacks any real depth or reason for so being.  The Queen of Hearts, Karen Mason, (think Dame Edna) tries too hard to steal the scenes - overtly pointing at the orchestra conductor in her one number as if she's in charge, not him.  Last, and close to least, Alice, Janet Dacal, is merely dragged from scene to scene meeting these outlandish characters but simply goes nowhere and adds nothing of interest to the character.

This genre may appeal to the younger, teenage demographic, but it's certainly not for the 3 month old crying baby in the back of the theatre whose mother was ushered out and hopefully dumped down and open elevator stack head first for even thinking of entering a performance space with an infant).  Even the two goom-bas from Lawn-Guyland behind us who openly chatted throughout the entire performance as if they they were in their living room watching TV were more interesting than what was unfolding on stage.

If I had to sum it up - the evening was a technical hit yet a creative bomb.  The visually stunning sets, lighting and costumes, brilliantly staged scenes and expertly choreographed numbers stand in stark contrast to the thin and vaguely American Idol-like, pop-sounding score (the louder you turn up the volume, the better it gets, right?) and a book with little substance and even less originality.   

In The Heights

A fresh, new musical chock-full of rhythm, heart, and Latin soul. Lin-Manuel Miranda conceived this musical in 2005 while still in college and worked dogged days and nights to bring his dream to the Broadway stage. Young, fresh talent is exactly what Broadway needs more of.

So what's different about this show? A whole lot and not so much at all is the answer. At it's core - it's a traditional musical in structure and content - Man has a dream, falls in love, struggles to overcome adversity, bittersweet triumph results and he gets the girl. There are two leading couples, one set of parents, one grandmother, a chorus of friends and neighbors, and a whole lot of dancing. So what's, different? It's 100% Latino. It takes place today on a corner in Washington Heights (hence the title). It's about modern immigrant struggles - non-stop and in-your-face. West Side Story may have been the first - but Lin-Manuel Miranda has brought a contemporary twist to the presentation that seems to draw in the adults as well as throngs of young kids.

The recipe for success: A dash of rap and a heaping spoonful of Latin rhythm and dance give this show a constant true-to- life feeling of Washington Heights. Everyone can relate to the little bodega on the corner and the larger than life figures that inhabit the neighborhood near the A-train at 181st Street. Add a pinch of cross-cultural (read, intra-Latino prejudice) family drama and a splash of economic hardship to the picture and you have a potent cocktail the audience consumes with delight.

Part of the success here is the audience's willingness to cheer the underdog, the new guy, a presentation of a new culture on stage - upbeat Latin flair layered into a traditional musical structure. Virtually a total cast of authentic and talented Latinos of all types dominate the stage from grandmother to kids. Of special note - Olga Merediz (Abuela Claudia) and Eliseo Roman (Piragua Guy) - two characters who completely surprise and entertain. The elders on the stage, Priscilla Lopez (Camila) and Carlos Gomez (Kevin) bring the struggle of the "old ways" into the picture. Robin De Jesus (Sonny) brings a sketch of today's youth and a dash of comedy to the story. Christopher Jackson (Benny) and Karyn Rodriguez (Vanessa) draw you into the heat of their youthful attraction while Lin-Manuel Miranda (Usnavi) and Karyn Rodriguez (Vanessa) struggle to find their love for each other.

When this show transferred to Broadway this season - a few eyebrows were raised. It was not a sellout off-Broadway. Was the musical score too homogeneously Latin ? Could it make it in a big, mainstream theater? I, myself, didn't think it would last. But after seeing it, I find myself in the unenviable position of eating crow. In The Heights proves itself as a stunningly contemporary and powerful presentation with a fresh young cast who put a new Latin spin on the age old problems of life.