Anything Goes

I wanted it to be great.  I really did.  I wanted to walk away from the theater soaking wet - like someone opened a musical theatre fire hydrant all over me in the audience on a hot summer day. Instead, all I got were a few blasts from the sprinkler in each act - all of which wet my leaves, but never got to my roots.

Problem #1 - Joel Grey is mis-cast.  He seemed oddly out of place the entire show.   Problem #2  - The book.  It's utterly stupid.  Stupid books abound, but you gotta compensate somehow.  Problem #3 - Three rousing tap numbers that don't really go anywhere and stand-alone gems do not compensate for the aforementioned problem #2 or #1. I had such high expectations - and they promptly withered and died by 11pm (yes, it's a long show on top of everything else).  

Was Sutton Foster magnificent - absolutely, without a doubt.  She's indeed delicious, delightful and de-lovely!  Her leading man, Colin Donnell, is adorably dashing and debonair and incredibly talented in the song and dance department too. You'll have to wait the entire first act for Anything Goes, the first knock-your-socks-off, full company, full-tilt tap number that brings the house down.  The entire cast is indeed talented and very easy on the eyes, i must admit.  Right after the intermission, you'll get that barn-burner,  Blow, Gabriel, Blow, and then really nothing until the finale.   I especially enjoyed Kathleen Marshall's razzle-dazzle choreography but it felt so isolated and stand-alone-ish.  And I adore John McMartin, but he looked so incredibly lost on the stage all the time.  And sometimes he just disappeared!  There's not much else to report over the rest of the 2H:45M run time aside from a very clever and cute use of a blue spot during Be Like The Blue Bird.  ~Sigh~

Best Leading Actress - No qualms.  Best Musical Revival?  Not a chance.   This ship is more like a row boat in a lake.   I'm going to wait for the concert version with the New York Philharmonic.  Get rid of the story - and focus on all the great song and dance.  Now that would be a ship I'd buy a ticket to sail on!

A Free Man of Color

Quite an epic on stage at the Vivian Beaumont Theater at Lincoln Center!  Three hours - and chock full of action, education, and quite a few laughs along the way.  John Guare's new opus is an ambitious work - as evidenced by the size cast - 26 listed in on the billboard alone and most play multiple characters on top of that!

Guare takes us on a journey to New Orleans in 1801 - which, in case you didn't know, was not part of America at this point in time.  It was filled with Spaniards, French, and Caribbeans of all types.   New Orleans was a land where men of all shades of color - from white to dark filled the city and shared a grand life.  It was a city where a slave could buy his freedom and become the toast of the town - especially among the women (of all colors) of the town.  Not only does Guare's play give us a sense of life in this vaudevillian city - he goes further to educate us on the global politics of the (1801) day - teaching us how Spain, France, England and Sante Dominigue (Haiti) all were part of the story of how America came to own this vast new land that spanned westward from the Appalachians to the Mississippi River, from the Gulf of Mexico northward to Canada - and how it changed New Orleans forever.

Jeffrey Wright helms the cast as the main character, Jacques Cornet and gets tremendous support from dozens of actors playing multiple characters in at least 4 different countries.  Stand-out performances to be noted:  Mos Def (the rapper) as Cornet's slave, John McMartin as Thomas Jefferson, Veanne Cox as Dona Polissena, a scientist, a young Paul Dano as Meriweather Lewis (of Lewis and Clark), and Triney Sandoval as Napoleon Bonaparte - - just to name a few.

Three hours may seem like an eternity - but director, George C. Wolfe, crams enough witty and quick tempo dialogue, colorful costumes, lively action and an abundance of information in to the fast paced, multi-country story that before you know it, 11:00 is here and you're dumped out on the plaza at Lincoln center with all the hoity-toity opera snobs in their tuxedos and gowns.  I highly recommend you attend this epic tale before it sells out for the season.

Saturn Returns

I haven't been to the Mitzi Newhouse theatre at Lincoln Center in quite a while, but for my return I was pleasantly surprised by the new play, Saturn Returns, by Noah Haidle.

The show plays out as a trilogy of sorts.  It cleverly draws a parallel between life repeating and the theory of how the planet Saturn takes 30 years to orbit the sun.  So as the theory goes - Saturn returns to the same position it was when you were born about every 30 years and so does your life experience. 

In a brief 75 minutes (ironically not 90 minutes) three different actors poignantly portray Gustin at a different age - repeating, re-living, and returning to the same point each time. Robert Eli (28), John McMartin (88), and James Reborn (58) each play Gustin at the indicated age and weave together the sad story of his life.  Amazingly, Rosie Benton plays the 3 different women in his life at these same points - Suzanne, his nurse when he is 88, Zephyr, his daughter when he is 58, and Loretta, his wife w

hen he was 28.   

The dots are sadly connected one by one and the entire story is revealed scene by scene.  As the dialogue unfolds, and the men sweep back and forth thru time to unveil the sad tragedies of Gustin's life.   Enhancing the experience is the brilliantly placed music, eerie and foretelling.  The lighting is magnificent on the simple living room of a house in Grand Rapids, Michigan, unchanging from 1948 to 1978 to 2008.

Four brilliant actors - one classic stage - check this one out before it too meets with it's planned demise in January.

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!

Grey Gardens

Grey Gardens is Christine Ebersole's show to shine in. And boy-oh-boy - did she ever! This recent transfer to Broadway is the story of Edith Bouvier Beale, her daughter, Edie, and their extreme relationship. The show is filled with wealthy family drama, the back-story of their connections to the Kennedy Clan, their extreme transformation with age, and of course a good dose of music - something Edith herself used to fill the many voids in her life.

Act I portrays the gay days (taken both literally and figuratively!) of the family in 1941 at the Beale Summer House - Grey Gardens - out in the Hamptons. This is the time period that young Edie meets and almost marries a young Joe Kennedy. Christine plays Mother Edith - the strong willed, powerful, yet extremely vulnerable matriarch of the Beale Family (while her husband is off fooling around on Wall Street and cheating on his wife). Kudos go out to John McMartin who plays a wonderfully entertaining Father to Edith - Major Bouvier.

In Act II Christine transforms herself into her own daughter - and Mary Louise Wilson takes over as her aging Mother in 1974 - - in what can only be described as the extreme decline of Grey Gardens. She is a recluse, the house is falling apart and they are both quite eccentric and have become locally infamous for the squalor they live in - - So much so that Jackie Bouvier Kennedy Onassis actually made several public statements on the situation of her aunt and cousin.

The quick witted and sharp tongued Ebersole tears thru both acts with gusto. Showing us at first her desire as Edith to impress and entertain - and then later her personal struggle as Edie with having her life "ruined" by her mother. In the end - she's not strong (or sane) enough to leave - despite her regrets, anger, and desire to do so.

The feelings of gaiety and lyrical music turn to hopelessness, desperation, and squalor in a mere 3 hours on Broadway at the Walter Kerr Theater on West 48th.