On the Twentieth Century

And the Tony goes to.....  yes, this one is a shoe-in for a nom... or six... and we'll just see who they are up against for the wins.  Warren Carlyle (Choreography) has got to be on the nominee list for his craft.  And let's not leave out Scott Ellis (Director) for his craft.  And don't think for a minute that Kristin Chenoweth is not a shoe-in her category.  Peter Gallagher just might be on the list too.

With an introduction like that - what's left but just the entire ensemble.  I have been saying since intermission of the show that this is perhaps the hardest working, singing, dancing, and entertaining ensemble that is currently running on Broadway.  It's seriously THAT good.
On the Twentieth Century is actually a musical by Comden & Green with music by Cy Coleman which is an adaptation of a play, Twentieth Century by Ben Hecht and Charles MacArthur based on the unproduced play Napoleon of Broadway by Charles B. Millholland, inspired by his experience working for the eccentric Broadway impresario David Belasco. Well that's a mouthful!
It's a good old-fashioned Broadway musical.  That alone doesn't guarantee success.  This production, however, goes every extra mile to ensure the delivery is crisp, bold, smart, and rhythmic. From the invisible orchestra to the tap dancing Porters (Rick Faugno, Richard Riaz Yoder, Drew King, and Phillip Attmore), to the show-within-a-show type story, this show has razzle, dazzle, sequins, slapstick comedy, Mary Louise Wilson (Letitia Peabody Primrose) and the audaciously sexy Andy Karl (Bruce Granit).

I never doubted for a moment that Roundabout's sets (David Rockwell) and lighting (David Holder) would be magnificent.  They were.  Costumes were simply lavish perfection (William Ivy Long).

From the moment the perfectly costumed and supremely gorgeous porters tap danced onto the stage until the very end when, all in white, the cast returns to the stage not a minute was ill-spent.  Every single minute was filled with a laugh, a song, or a dance.  Every single minute.

Get your ticket to board On the Twentieth Century today.  It leaves from Chicago to New York 8 shows each week.

Promises, Promises

A long time in coming, the first Broadway revival of a 1960's classic.  A Neil Simon book, Burt Bacharah music and Hal David lyrics - how could you go wrong putting this one on?  Well, let me tell you - mis-cast the leads and don't update the book.

It's not like Sean Hayes and Kristin Chenoweth are not capable, they certainly are.  It's not like Rob Ashford is not a talented director, he most certainly is.  The problem is that we've picked "stars" to lead the show instead of the right talent.  Mr. Hayes is a comedic genius - not necessarily a singer - (although i must admit he's got a pretty decent set of pipes).  Kristin Chenoweth could possibly be one of the brightest stars on Broadway, but the role of Fran Kublick - questionable.

The dancers, the sets and lighting are all fantastic.  And if there's one person who steals this show out from under everyone - it's Katie Finneran.  With no more than 20 minutes on stage the entire time, she walks off to a virtual standing ovation right in the middle of the show.  Go figure.

Because this show is such a good romp and a light hearted love story - it's certainly worth seeing and the cast is certainly talented even if mis-cast.  I suspect despite the mixed and luke warm reviews, this one will last a short while.

Stairway to Paradise

A gem of a show to end the Encores! season with. A unique production for the creative group at NY City Center - a review of the "best of the best" songs and scenes from the Vaudeville era. They tell me that the show was written with Kristin Chenoweth in mind - and what a darling she was.

The cast was rounded out with Kevin Chamberlin, Christopher Fitzgerald, Michael Gruber, Shonn Wiley (that uber cute blond boy), Capathia Jenkins and Ruthie Henshall and a great supporting chorus of talented dancers and singers. And you can't ever leave out the spectacular Encores! Orchestra - - never a sour note!! A few stand out performances to note:

Capathia Jenkins - Pack up your Sins and Go to the Devil and My Handyman Ain't Handy No More; Ruthie Henshall - Memories of You and Ev'ry Time We Say Goodbye; Shonn Wiley and Jenn Gambatese - Rhode Island is Famous for You; Kendrick Jones - Doin' the New Low-Down.

Although different from the normal production - it still stuck to the mission of Encores! which is to present rarely-heard works of America's most important composers and lyricists.

The Apple Tree

Kristin Chenoweth is certainly a (big) Broadway star. However, right now, she's a star without a big show (if that is possible). The Apple Tree is not so much a show, but rather a showcase. It certainly allows Kristen to demonstrate her versatility and her comedic talents (and there's lots!). She's a dream to listen to and our little girl has a pair of lungs for sure.

The Apple Tree is actually a series of 3 vignettes - all dealing with love, desire, fantasy, and the forbidden fruit (both literally and figuratively). The first is a version of the story of Adam and Eve in the Garden Of Eden. The second is the age old story of the choice and the equality of chance as told in the middle ages - a king, a princess, a warrior, forbidden love, and the ultimate choices they make (or do they?). The final scene is a fantasy dream sequence of an ordinary woman who becomes a star - Passionella - that takes place in the 1960's .

Brian d'Arcy James and Marc Kudisch pull through with solid supporting roles and the chorus boys are pretty darn cute.

The show is cute and fun, not great- but certainly worth seeing if you can get a discounted ticket. I think that Kristin will find that "role of a lifetime" pretty darn soon!