Tuck Everlasting

The producers (and there are many) of this show have assembled perhaps the finest creatives available on Broadway and have made the best casting decisions possible.  Book writers Claudia Shear and Tim Federle brought their "A" game on this effort after many years of work on the story.  The music and lyrics by Chris Miller and Nathan Tysen are a perfect blend of Broadway and Folk with rousing ensemble production numbers, tender ballads, and entertaining character solos.  Although he is the last one mentioned on the marquis page, Casey Nicholaw is at the top of his game with the show's inventive and dynamic choreography with hints of ballet and not a single kick line.  His directorial choices aren't obvious, and that's what makes the show sail along as smoothly and easily as it did.

The story is adapted from the novel of the same name by Natalie Babbitt - and for the record I've neither seen the movie nor read the book.  The charming and heart-warming story goes something like this - young girl whose father died last year wanders into the forest, meets young boy from a family that has discovered a fountain of youth in the wood and has lived forever for generations without aging.  They take her home overnight and eventually return her home the next day where she has to make a decision  - drink some of the water (in 6 years when she's old enough) or live her life in the here and now as intended.

The young girl, Winnie, is played by newcomer Sarah Charles Lewis.  In what will for sure be considered her star-making debut on Broadway, this young girl will most assuredly be on the short list for a Tony nom.  Surrounding her is a cast like no other and might be the most perfect casting for this show.  Of the Tucks, Broadway veteran and vocal powerhouse Carolee Carmello (Mae Tuck) plays the Mother, Broadway veteran and great stage actor Michael Park (Angus Tuck) plays the father, Handsome and talented Robert Lenzi (Miles Tuck) plays the older brother, and last, but not least, the undeniably adorable and supremely talented singing, dancing, and acting star Andrew Keenan-Bolger plays the title character Jesse Tuck.  But the casting bulls-eyes don't end here.  Broadway stalwart Terrence Mann plays with aplomb the Man in the Yellow Suit.  He's got a devilishly devious part and perhaps leads one of the best numbers (there are many) of the show - Everything's Golden.  And in case you didn't think that was enough - the Indomitable Fred Applegate perfectly plays older Constable Joe along with his young sidekick (and son) Michael Wartella (Hugo) to the delight of the entire audience - especially since the creatives smartly gave them a number at the end of the show that almost got a standing ovation -Story of the Man in the Yellow Suit.  The reprise of Join the Parade in Act I brought the entire company on stage with Mr. Keenan-Bolger joining the male dance ensemble to bring the crowd to its feet in a rousing company number.  It deserved an encore (as cheesy as those are).

To be critical, Act II was better than Act I in terms of story and pace but I suppose a bit more exposition (the drag) is needed in Act I.  What I think the creative team did brilliantly was to engage the audience throughout.  All those Broadway numbers for the secondary characters, the talented Tuck family casting, ensemble dance routines, the introduction of young star and finally the epilogue - which for some will evoke potent emotional memories of the ending of Six Feet Under - it was perfectly choreographed with ballet inspired dance and staged and without a single word the audience understood exactly what was transpiring.

Tuck Everlasting will tug at your heartstrings and bring you to your feet at the end.  Live for now and run over to the Broadhurst Theatre and catch a performance of a show that aims to live forever!

How to Succeed in Business Without Really Trying

Without question an evening of sheer entertainment all-around.  With much riding on his shoulders, Daniel Radcliffe once again proves himself to be right at home on a stage acting, singing, and dancing with the big-boys and girls of Broadway.

Now, with that said, I will say that the entire show is entertaining - a light, amusing, and occasionally cynical book (Burrows, Weinstock & Gilbert), and a fantastic score (Loesser), carry you from start to finish - always with a smile or a wink and a nod.  I will go further and say that this show and this star are a particularly successful marriage made in heaven.  The show carries Mr. Radcliffe and he in turn delivers and delights as we watch him climb the corporate ladder from the mailroom all the way up to the board of directors at the World Wide Wicket Company.

Joining Mr. Radcliffe (J. Pierrepont Finch) in his climb up said ladder are John Larroquette (Mr. Andrews, the president of the company), Tammy Blanchard (Hedy La Rue, his dizzy girlfriend), the uber-adorable and talented Christopher Hanke (Bud Frump, his arch nemesis at the company),  and Ellen Harvey (Miss Jones, secretary to Mr. Andrews) and a Broadway debut for Rose Hemmingway (Rosemary Pilkington, Fitch's girlfriend).  You also just might recognize a familiar yet invisible voice echoing throughout the theatre - Anderson Cooper (the narrator)!  A tremendously energetic and talented supporting cast, chorus, and dance team delightfully round out the entire troupe!  Colorful costumes, brilliant lighting effects, and superbly complex sets never disappoint.  Rob Ashford's brilliant directorial and choreographicial stamp is all over this one.

Merely two weeks into previews and this one is already blowing the roof off the house!  Get your tickets before the location of this secret treasure gets out!

Middletown

Were it not for the fine actors on stage, this play would have been a real snooze.  Notwithstanding the fact that this is an award winning play, it doesn't guarantee an engaged and awake audience.  Playwright Will Eno took a lofty academic subject and has tried to translate that into action on stage.  The problem is that the play is about nothing.  Literally.  So was the TV show Seinfeld, you might quip.  The difference is, this is a serious drama, not a light hearted comedy.  Boring and drama is a deadly combination on stage.

Now let me get back to my first statement.  Were it not for the actors Michael Park (cop), Heather Burns (Mrs. Swanson), Linus Roache (John Dodge), and James McMehamin (mechanic) and Georgia Engel (librarian), we might be talking about a train wreck.  Instead, they've taken this material and worked miracles.  Michael Park (recently seen in Burnt Part Boys) exudes just the right mix of loneliness, anger, and suburban frustration alongside small town popularity and familiar like-ability.  Linus Roach (most recognizable for his role as Jack McCoy's ADA replacement on Law and Order) turns in a fascinating study in strange, off-beat, lonely and friendly all wrapped up in one.   Heather Burns is a convincing pregnant lonely suburban housewife who's husband is perennially out of town on business.  James McMenamin aptly portrays the perfect "lost" kid who has a storied past, uncertain present, and hopeless future.  Georgia Engel quite possibly was the perfect pick for the innocent, naive, yet solidly grounded town librarian with eternal hope and endless love.


So what was this play about?  The main theme of birth, death and everything in-between (hence the title Middletown) is a good summation.  Where are we going?  How do we know when we get there? Where did we come from?  Why are we here?  Pretty heavy, academic stuff, huh?  In the end, the subject matter and words on the page probably deserved high praise and recognition with the Pulitzer.  However, when translated to the stage, it somehow loses its power and punch and looks more like a sad indictment of our suburban (or even American) plight overall.  The opening monologue to the audience was awkward (was it part of the play or done for the theatre?).  The end of Act I with the "onstage audience" was clever, but upon reflection, a bit insulting.  (Am I perceived by the playwright or director to be that dumb that I need this explained to me?).


An unfair early review, I don't think so.  Technically, there were no problems - lighting, scenery, and sound - all top notch.  I especially loved the astronaut radio communication scene sound effects and night sky lighting.  Actors turned in top notch, solid, and well rehearsed performances. Perhaps not my cup of tea, i admit.  But at least I stayed for Act II.  I can't say that for about a dozen or so of my fellow audience members.  At the Vineyard Theatre, that's a high percentage.

The Burnt Part Boys

What a thrill to see a new show that really blows you away.  This is a joint production between Playwrights Horizons and The Vineyard Theatre.  It's been in development for about a year on various stages and this stop on 42nd Street is a true winner.

Pete (Al Calderone) runs away with his best buddy Dusty (Noah Galvin) to try and preserve the memory of his father who was killed in a mine explosion (hence the title, the Burnt Part... of the mine).  Chet his older brother (Andrew Durand) and his best buddy Jake (Charlie Brady) chase after them.  The story is a powerful ode to family and memory, growing up, chasing a dream, and a fight to "get out" vs the need to "stay".   The power behind this show is the music - one strong ballad after another and a cast that can fill the theatre from the front row to the very last.  Kudos to the entire creative team - Mariana Elder (book), Chris Miller (music), and Nathan Tysen (lyrics)  The creative direction (Joe Calarco) and use of the stage, ramps, and aisles during the performance drew you in even closer to the story.

Run, Don't Walk.  This one has Broadway transfer potential.

Applause

A classic film, All About Eve, staring Bette Davis, begot this Comden & Green musical in 1970 at the Palace Theater staring Lauren Bacall (and later in 1973 on TV starring Bacall and Larry Hagman). In it's endeavors to bring the less-known musicals back to the stage, Encores! ended up with something less than brilliant, bombastic, super and fantastic.

Don't get me wrong - even recovering from the Asian bird flu (or something like that), Christine Ebersole was above average in the leading role. It certainly was a disappointment to see her at less than "full speed". However, the problem was casting, not performance. As a good friend of mine said, "Could Christine Ebersole have been more mis-cast in the role of the aging Margo Channing?" I think not.

Certainly a brief but memorable performance from Mario Cantone and Kate Burton, but nothing in all of this would suggest it's anywhere close to a Broadway revival ala Gypsy with Lupone - (the last success story from Encores!) My favorite scenes were perhaps the full cast numbers -the show's title number "Applause" and "But Alive". Ebersole seemed to be having as much fun mixing it up with the gays as Bacall in this 1973.

It seemed appropriate for an "all star" semi-staged reading, but I'm going to guess that we won't be seeing Applause on Broadway again any time soon.