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.

No, No, Nanette

Despite the fact that an Encores! production lasts a mere 5 performances and the cast assembled barely two weeks prior to begin rehearsals - most - including this one - end up being possibly the best performances on Broadway! No, No, exception here. Penned in 1925 by Otto Harback and Frank Mandel (who ever heard of them?) with Music by Vincent Youmans (him either?) this tale is a showcase of old fashioned musical song and dance.

Headlined by Sandy Duncan, Beth Leval, Shonn Wiley, Michael Berresse, Charles Kimbrough, Mara Davi, and Rosie O'Donnell- this gem was near production quality! Books? Who used one? One might surmise these actors had the time of their life singing and dancing ...and dancing... and dancing... the night away!

Lord knows how old Sandy Duncan (Sue) is these days, but she kicked higher than I could at 18 years old, she looked better than I did at 23, and she tap danced better than people I know who do it for a living. The incomparable Beth Leval and Michael Berresse paired up as husband and wife. Beth (Lucille) tore down the house with The "Where-Has-My-Hubby-Gone-Blues" Blues and Michael (Billy) tore up the stage with his effortless leaps and dance steps in such numbers as Telephone Girlie and You Can Dance with Any Girl and Call of the Sea. Fred Astaire, eat your heart out - you've got tough competition in the uber-adorable and ever-graceful Shonn Wiley (Tom). Cleverly cast in a role choc full of comic relief, Rosie O'Donnell (Pauline) landed each entrance, one-liner, and exit with aplomb.

This show is truly a dancer's showcase. Each of the chorus boys (all adorable) and girls made it all seem simple - including the multiple full cast tap numbers. Truly a treat. Remember - two week's rehearsal, folks. Unbelievable how so many people can be on stage tapping and it always sounded line one single pair of feet. They truly wanted us all to be happy. (I want to be Happy is perhaps the most well known number from this show).

Encores! may represent the "Best Of" when it comes to talent, enthusiasm, and pure enjoyment of the craft. It's not a commercial Broadway run , yet you can see that each cast member truly enjoys every moment of the show. And speaking of "Best of" - an evening at Encores! would not be complete without the incomparable Rob Fisher and the Encores! Orchestra - always a class act located right on stage. And for No, No Nanette - not one, but two grand pianos! Beyond elegant. All those fingers tinkling all those ivories. A perfect match to all those toes and heals a-tappin' on stage. Bravo! Just when you think I'm done with all the complements, I have to mention the costumes - classy, dashy, and always dripping with class. All those flapper girls with the car wash dresses, dripping with sequins - and the dapper chorus boys all in preppy cardigan vests, then swimming suits (the real things) and a classy finish in black tie and tuxes. Never a hair out of place and always a smile on their faces.

I wish i could tell you all to run out and see it, but all that happiness is already faded and the curtain has fallen on the last performance tonight for the City Center Gala. You'll just have to wait until the next one comes along!

Broadway Sings the Phone Book

Since Broadway is on Strike and I lost my tickets to see a show tonight - I found free tickets to this little ditty - turns out it was a benefit for the Make-A-Wish Foundation.

Hosted by Tony award winner, Julie White, it was cute, silly, and entertaining. Based on the old adage - "Oh, he's so dreamy - he could sing the phone book to me and I'd love it"

Well they did - and it was. Now let's hope this strike is over soon!

A Chorus Line

We all know the story - and many of us have seen the movie. But despite this - the Broadway revival of A Chorus Line is destined to stay around on Broadway for another long run.

The bare stage, the spotlight, the empty theater, the solitary white line painted down the middle of the stage, the dancers, the stories and emotion all add up to... A singular sensation! (ok, i just had to say that!).

Each of the 17 dancers has something to share and each of them makes you feel like the story and the struggle is personally theirs. Many a show has an ensemble cast - and the story within this story is about the very same thing - The desire to make it on "the line". The hopes and dreams not to become "the star", but just to "make it" and then shine thru! This ensemble cast takes you there!

I found myself in awe at how the dancers (we all know they must be TOP notch to have been cast in the show) switch back and forth between the hesitancy and awkward nature of their characters, the tears, the "learning the routines" to the flawless execution of the dance routines in the show numbers. I just have one comment to Bob Alian (the show is still in previews, so changes can officially be made) -- Bring down the mirrors at the end and let the darn cast come out for another bow!

It takes hard work and a lot of rejection before you "get there". The 17 dancers showed us all through their individual stories that this fall's revival of A Chorus Line is going to be "The One"!