Hand to God

By my calculations this is the 5th worst play I've ever seen... And I've seen a LOT of plays.  Trust me.  What makes this the 5th worst and not the 3rd worst is the fact that #1,  I stayed past intermission (i considered leaving, yes) and #2, the tremendous talent of one single cast member.

This was probably the most childish, immature, and infantile play I have seen that ever graced a Broadway stage.  It seems to appeal to the kids (the ones that have enough money to afford a ticket, that is) that like to laugh at mean jokes and cheap lines about bad situations.  Throw in plenty of "fucks" and I guess you have a Williamsburg hipster hit (until the 500 of them who can afford tickets are all cycled through anyway).

Why didn't I leave at intermission?  One simple answer - Steven Boyer.  His subtle and nuanced performance against his diametrically opposite sock puppet was outstanding.  He has not only mastered the art of puppetry, but he has mastered a 2 person dialogue all within himself!  His timing, facial expressions, puppet movement, and general skit-zo attitude on stage provided the much needed relief from the actual material of Robert Askins' awful new American play.

Were it not for Mr. Boyer, my evening would have ended after 60 minutes.  Because of him, I did get to see the other 60 and digest Mr. Askins' point of view about religion, society, good, and evil.  I get it, Mr. Atkins.  I actually don't disagree with the theory that evil and good were invented to "keep the masses in line" and that perhaps there is some truth to the idea that we were better off in some ways when we are all alone instead of bound together in society and groups. Food for thought yes.  But the material you chose to present on stage was a crude and crass way of getting your point across.

The Blue Flower

Architects and designers will tell you this all the time - not everything that looks good on paper translates well when actually constructed.    2ST has tried to breathe new and massive quantities of life into a wilting bud that was first presented in 2004 at the New York Musical Theater Festival (NYMF) and then again in Boston at the American Repertory Theatre in 2010.   Unfortunately, it may have worked in one of the intimate black-box theaters of NYMF, but the idea, when in full bloom at a larger off-Broadway stage wilts under the hot light of day.

Effectively a story about a story, about a story - (yes, that's a lot of stories) - the show is told to the audience  by a narrator while the actors mostly silently act and sing in a somewhat chaotic manner.  When the actors do speak (it's rare) it's often, as in the case of Max, is in his made up gibberish language - which I never did quite connect the dots as to why he started speaking it in the first place.   As a matter of fact, there are a lot of points in the show that, while intriguing, never quite connected to the next point.  And I haven't even gotten to the songs yet!  The songs, you ask?  I found myself asking song after song - what on earth does this song have to do with what I'm watching?   Finally, I still, after asking no less than 4 reasonably intelligent-looking, theatre-going people sitting near me in the theatre, cannot understand what the significance of the blue flower even is. It's the title of the show for Pete's sake and they used blue flower petals about 6 times in the show too!  You'd think the gun, used in both act 1 and act 2 would somehow be made relevant!   Confounding, to say the least.  Distracting, confusing, and illogical mostly.

Notice that my critique centers on the construction, substance, and mood of the work itself.  That's because despite the awkwardness - the actors and musicians (on stage!) were some of the best that Broadway and off-Broadway has to offer - and they didn't fail to deliver a top notch performance despite the material's crippling handicap.  Taking the helm is the incomparable Marc Kudisch as Max.  He's engaging, crisp and powerful with a voice that can't be matched.  Sebastian Arcelus, as Franz, likewise, is a kind, handsome (um, very), and emotionally torn friend to Max.  His tender voice filled the theatre with deep emotion.  Meghan McGeary (Hannah) and Teal Wicks (Maria) both turned in powerhouse performances.  I frankly didn't like either of their characters, nor most of the material they were given to perform - but looking past that fact, I cant deny their immense talents.

So while the sets may be imaginative (Beowulf Boritt) and the sketches and storyboards may have looked good, The Blue Flower doesn't translate well from page to stage.  Director Will Pomerantz gave it a gallant try but this miss is neither his nor the actors' faults.  Some books should just be left on the coffee table to admire.

9 to 5

One of my annual guilty pleasures is a trip to another city to get an advance view of one of the season's out-of-town try outs for the "it" show in the upcoming season.  This year it was flight 1402 to Los Angeles to see Dolly Parton's new musical, 9 to 5,  at the Ahmanson Theatre.  As in the past, I will start this review with the caveat that an out-of-town tryout is just that - a tryout.  It's meant to work out the bugs and kinks; tighten up the show; change songs; kick the tires; change the dialogue and button things up for the eventual Broadway run.   Consider this a "sneak peak" rather than a review.  I want to be fair to the production.

Let's start at the top.  The book was written by the same person who wrote the movie screenplay - Patricia Resnick.  The beloved Dolly Parton wrote all the music and lyrics and Joe Mantello directs.  So  far, so good.   Since we all know the film - Who plays the Dolly Parton role (Doralee Rhodes), the Jane Fonda role (Judy Bernly), and  the Lili Tomlin role (Violet Newstead) you may ask?  At the helm of this new musical production are Megan Hilty (Wicked),  Stephanie J. Block (Wicked, The Pirate Queen) and Allison Janney (A View from  the Bridge, TV's West Wing).  Franklin Hart is played by Mark  Kudisch (The Apple Tree, Chitty Chitty Bang Bang, Assassins, Thoroughly Modern Millie).  A fine supporting cast is rounded out by Andy Karl as Joe from Accounting (Legally Blonde, Alter Boyz, Slut), Kathy Fitzgerald as Roz 

(Damn Yankees, The Producers) and Ann Harada as Kathy the office-mate (Avenue Q) and my secret favorite, Van Hughes as Josh (Saved, Hairspray).  

Once again, it seems we all know the film (did anyone reading this blog not see it?)  - and this production makes no apologies for taking much of the dialogue direct from the movie to the stage - with much success. As a matter of fact, the entire story is pretty much taken in its entirety with only minor changes needed for an adaptation to the stage.  All you cult followers won't be disappointed.  ("I'll get that gun and I'll change you from a rooster to a hen with one shot"!).   

Musically, who doesn't adore Dolly Parton?  What fun she's often admitted  about writing this show.  The pastiche of musical number she churned out have something for everyone - a little country, a little rock and roll, and a whole lot of Broadway - all of them with a dash of Dolly!

The show runs the standard length - 2 1/2 hours with one intermission.  The dynamic sets on this particular stage (the Ahmanson is a newer, auditorium-like theater) were flown in, pushed up from below, slid in and out from the sides and turned inside out to create an ever 

changing flow to the numerous scenes (the outer office, Mr Hart's office, and his home just to mention a few).  Digital video was used effectively on the rear wall of the stage to convey the city-like atmosphere during several scenes.  I hope this stays.  Thankfully this will  be staged at the Marriott Marquis Theatre in NYC so one would hope that the same inventory could be used for the Broadway run.  

Now, let's talk about the talent.   Megan Hilty has already earned my vote for a Tony nod.  Hands down she steals the show.  She's really playing Dolly, playing Doralee - and she does it to a tee - the voice, the body, the hair, and the mannerisms.   Perfection.   Stephanie J. Block plays her own version of Judy Bernly.   A little more timid, a little more wholesome than perhaps you might remember Jane Fonda playing it.  With a powerhouse voice and the comedic timing she has - it all seems to work.   Now, onto a tough call.  Allison Janney has the comedic timing and delivery of a pro.  But this is a musical.  You have to be able to sing too. Unfortunately that's not something in her box of tricks.

She makes a valiant effort, and really pulls out all  the stops in Act II with One of the Boys, but if this show has any Broadway staying power - she's got to go.   Donna Murphy?  Are you available??  In a show that you can find little wrong with - she sticks out like a sore thumb.   I love her dearly and it pains me to say it -but she's got to go.

The show still takes place circa 1979 - but i have to say the costumes are not as retro as they could be and nobody seems to have the "big hair" that screams 1979.  I see some improvements to be made there.   Again to the modern stage at the Ahmensen - I hope the digital lighting here can be replicated at the Marquis to produce the same dazzling effects (The clapper.  That's all I'm saying).  

As a general note - this show loads of fun.  I see only minor opportunities to "tighten it up". One thing that did irk me was the continual use of the offstage chorus.  Why couldn't they

be on-stage if they were being asked to sing?   In ever thought it would be inappropriate or distracting if they would have been on-stage.  The fact that they were not on stage yet we were hearing them was, however.  At times, it only served to remind me that maybe they were doing this to compensate for Janney.  

I think the buzz is all good.  This production closes on October 19th in LA and previews begin in New York City on April 3rd.   If you see one show this season - make 9 to 5.  It's enough to drive you crazy if you let it!

For those of you who just can't wait - here's a sneak peak:

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!

Assassins

Thoroughly Modern Millie