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.

Mary Poppins

It's a good idea to go see what a whole lotta cash can buy! Let me start off first by saying that I don't like the idea of Disney on Broadway. It's commercial and popular. Just look at the lines outside the New Amsterdam Theater - mostly tourists who are more than willing to drop $110 a ticket (discount, what's that?) for the chance to see "the show" of the season. And let's not forget that they all buy their 3 year old kids a soda in a souviner cup and a bag of chips for $20 - both of which are shockingly allowed in the theater during the performance! I spent the first 30 minutes thinking something was wrong with the sound system. No, it was just all those moron parents letting their stupid kids eat the potato chips (crinkle, crinkle crinkle x 500) during the performance!

Well, back to my original thought - It's a good idea to see what a whole lotta cash can buy. Disney has it and this show flaunts it. The sets (and there are more than I've seen in a long time) are opulent. The fly space (the space above and around the visible stage) in the New Amsterdam seems to be one of the best in the industry - allowing for huge backdrops and sets to come and go effortlessly. There's a doll house cut-away and an upstairs bedroom that alternatively raise and lower along with a rooftop and a park. The actors float around the stage, climb the proscenium, walk upside down and fly out into the audience - all effortlessly and magically.

What else can money buy? Costumes (an endless colorful supply of them); Lights (all sorts of colors and sizes); Special effects (rain, flying birds, stars); and let's not forget the magical effect of Mary and Bert flying all over the place - floating like birds and sliding up the staircase.

Disney money can buy a lot of things that many productions can't afford, but I have to admit, I was transported to #17 Cherry Tree Lane. It does work. But let's not forget - a large cast, a terrific score and the dark interpretation of the P.L Travers stories are also part of the formula of success. Ashley Brown and Gaven Lee certainly do dazzle and delight. They, along with the rest of the cast, really do seem like they are having fun from curtain to curtain. I'd believe it if they told me they all worked for free (OK, well sort of).

So, while I thoroughly enjoyed the performance and revel fondly in the memories while perusing my Showbill (what's that all about?) back at home, it does worry me that all those people who saw it (and loved it too, I'm sure) will just expect the next show they see to be bigger and better. How disappointed they will be when they go see Spring Awakening or Grey Gardens and find out there's only one set per act and people don't fly.

What is all that money buying us in the long run?

Phantom of the Opera

http://en.wikipedia.org/wiki/The_Phantom_of_the_Opera_(1986_musical)