An American in Paris

Quite possibly this is the most beautifully staged ballet mounted on a Broadway stage.  The perfect blend of theater, dance, and storytelling is something you cannot miss.  The dancing is breathtaking.  The music  (George  and Ira Gershwin) is classic and instantly recognizable.  I have not seen the movie (it's rare that I have) and I was swept up in this luxurious, eye-popping spectacular on stage at the Palace Theater directed and choreographed by the incomparable master of dance, Christopher Wheeldon.

Robert Fairchild (Jerry Mulligan). already a well respected and award-winning dancer has kept secret from us - he can sing and act too.  A more perfect triple-threat I cannot imagine - so much so that I found it hard to take my eyes of him.  He's handsome, svelte, funny, and flexible.  His dance is mesmerizingly effortless - like a feather in the wind.   Equally talented and beautiful is the central love interest in the story, Leanne Cope (Lise Dassin).  She floats across the stage like a cloud of pure joy. She exudes Parisian charm and good looks with every step, note, and line she executes.

And while many could play the part, none other than the incomparable Veanne Cox portrays Madame Barurel - the uncompromising mother with some secrets who just wants her son to get married already.  And guess what?  I adore her comedic genius but now I find out she can dance like a pro too!   The American determined to make it big in the Paris art world (and score a handsome man) is played by none other than the divine Jill Paice (Milo Davenport).  Her singing, sultry and exquisite dresses, and dancing skills brought her character to life as she attempted to woo Mr. Fairchild.

This show is truly ballet extraordinaire and hence brings a full suite of skills and talent in the company to the stage - and they multiply it 10-fold with the play (ballet)-within-a-play (ballet) concept.  The three handsome leading men (Mr. Fairchild along with Max von Essen (Henri Baurel) and Brandon Uranowitz (Adam Hochberg) succeed wildly in falling in love with the same woman in entirely different ways.  Their chemistry is palpable and you really think these three might end up being friends in such a setting.  Each has a different personality but they blend remarkably well.

From the breathtaking opening scene (it's magical) to the titular ballet scene in Act II, you won't want to miss a single moment of this rapturous and fluid performance.  Although we recently experienced another show with Mr. Gershwin's music (You Can't Take it with You), this story is entirely different and evokes completely different emotions.  

As was said about Rob McClure in Chaplin, the same can be said for Mr. Fairchild - "Welcome to the show that's going to make you a Broadway star".

Death Takes a Holiday

The Roundabout Theatre Company has done it again.  A powerhouse cast, a delightful and lightly operatic score atop a simple and enchanting book are just a few of the rewards that are awaiting audiences at the Laura Pels Theatre this summer.   Death Takes A Holiday is a "breathtaking new musical" inspired by the 1934 romantic drama (play) of the same name.   Elegantly, simply, and ingeniously directed by Doug Hughes, the musical sweeps you off your feet, effortlessly glides thru its paces bringing you on a brief and entertaining journey the Villa Felicita on a lake in Northern Italy in the late summer of 1921.

What makes the journey so effortless and so incredibly enchanting is most certainly due to the cast of characters - which includes, on such a small stage, a plethora of veteran Broadway talent in addition to some fresh, young blood - all perfectly cast in their roles.   Jill Paice (Grazia) pulls you into her heart with her song from the very first moment and refuses to let you go the entire show. Kevin Earley (Prince Nikolai Sirki/Death) quietly sneaks into the picture and sweeps you off your feet.  His flawless vocals packed a punch and quite literally blew the roof off the house.  Of note, Mr. Earley stepped into the role shortly after the original lead, Julian Ovenden, stepped out due to an ongoing throat illness.  The very fortuitous Mr. Earley played the opening night and has done so every night since.

This production doesn't stop with just two top-notch leads.  Supporting these two incredible actors is a cast of other immeasurable talent including:  Michael Siberry (Duke Vittorio) and Rebecc Luker (Dutches Stephanie), Matt Cavanaugh (Major Fenton),  Mara Davi (Alice) and Alexandra Socha (Daisy), Max Von Essen (Corrado) and Linda Balgord (Contessa Evangelina).

The comparison to the juggernaut, Phantom of the Opera, is inevitable, but this show succeeds without all the weight and unnecessary baggage that Phantom brings along with it.  Operatic, yes, oppressive, no.  Hughes injects the story with dashes of comedy, a modern sense of love, family, and frivolity.  A fine example of this clever infusion is the character of Fidele - played to its maximum effect by a quirky and adorable Don Stephenson.

The story, quite simply, is a love story.  Death takes on a human (and quite handsome) role to find out what all this living and loving nonsense is all about.  He, quite literally, takes a holiday from the his daily grim tasks.  As you would expect, he falls in love and what happens next is... well... I think you know.   While Death might be eternal - you only have a limited time to catch it on Broadway - playing now thru September 4th.

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.