Little Miss Sunshine

Living its second life, reincarnated and redesigned since its debut at La Jolla, the curtain now rises on Little Miss Sunshine at Second Stage Theater.  If you've seen the movie (like so many shows these days) you may go in with high hopes and leave with them dashed.   If you arrive having forgotten or never even seen the movie - well, it's cute and funny, but I'm guessing the battle to compare to and overtake the movie will be an uphill battle for many.

Since I subscribe to 2ST, I want to see the shows and look forward to them.  This show was entertaining, but not a blockbuster.  I giggled, I laughed, and even shed a tear.  But the movies (as it always is) can do so much more, visually and cinematically speaking.


The key element of cleverness was how they were going to portray the bus - and their choice was skeleton - chairs and a steering wheel - pushing the bus (a key element in the movie too) was cleverly done indeed but it didn't quite cut it.  In order to establish the key elements of the plot - I was delighted to find out much material was cut and the show was run without an intermission to be brief and poignant.

Stephanie J. Block (Sheryl) was as always pitch perfect but somewhat waste in the role.  She hit all the right notes but she's so much more.  The uber-handsome Rory O'Mally (Frank), her brother, had a depth and warmth and sarcastic bite that was delicious - and what a set of pipes he's got.  Logan Rowland (Dwayne) was cute but,  as expected, didn't speak 3/4ths of the show.  Will Swenson (Richard) was a great last minute swap as Will Chase recently backed out.  But the real star of the show (as was the movie) was Hanna Nordberg (Olive).  She was pure delight - sweet innocence - a child struggling to love her family and fit in.  Grandpa , David Rasche, was funny, but failed to meet the singing requirement.  As a matter of fact - many of the songs were part said, part sung which doesn't quite make for an evening of total delight.  One or two songs hit the mark, most did not.

Entertaining yes.  Overtaking the movie's enjoyment factor, i think not.

The Mystery of Edwin Drood

OK, take a deep breath.  Ready?  This one is a mouthful.  A delightful, delicious, and audaciously entertaining mouthful.

Charles Dickens started a novel and died before it was finished.  Rupert Holmes (Book, Music, and Lyrics) thought it would be clever to write a musical that offered a cast - playing actors - who were playing actors - in a  musical where the audience would vote on the outcome of Dickens' novel in an interactive, "first-ever" theatrical experience.  Got all that?   Don't worry it's not all that complicated.  It's actually quite fun.

OK, so each of the actors plays and actor playing an actor.  For example, the stalwart, Jim Norton, plays the Chairman of the theatre company and then by proxy, Mr. William Cartwright in the musical.  Will Chase plays Mr. Clive Paget playing John Jasper in the musical.   And I could go on and on and on... This cast is one of those endless pools of talent both young and old - Stephanie J. Block, Jessie Mueller, Andy Karl, and living legend, Chita Rivera - just to start things off.

It's an entertaining, interactive, and fun Roundabout Theater Company production over at Studio 54.  Since the cast is intentionally interacting with the audience as their actor-characters, the joviality and camaraderie shines through and brings joy and delight - literally out into the audience and up in the mezzanine.  And at the end of act 2, you'll vote not only on who you think killed Edwin Drood, but a mash-up of other outcomes as well.

Well, I can't really tell you the ending.  While I haven't studied the book, i suspect there are a multitude of endings possible and ever more fun to be had rehearsing them all!

By the Way, Meet Vera Stark

Lynn Nottage has penned a unique and clever work now being performed at Second Stage Theatre.   The play takes place in two distinct parts - Act I in 1933 and Act II 1973/2003 involving the same cast - some playing the same characters and others taking on new roles.  The work itself is a film-within-a-play and a TV-show-flashback within-a-lecture within a play.  Yes - all that and I promise you'll never get confused.  It's all done with perfection!

Act I all by itself is simply enchanting.  A small and funny dramady all in itself, it introduces us to the characters, provides background and setting (Hollywood 1933).  It then sets the stage for the future possibilities for the main character, Vera Stark (Sanaa Lathan) as she embarks on her life's journey.

Act II is where the real meat of the intrigue and playwright's message lies.  Act II brings us forward almost 70 years with looks back at what became of Vera and her hallmark film debut, The Belle of New Orleans.

The sets are charming and the costumes period-perfect.  I loved the way they orchestrated the scene changes - making the stage look like a Hollywood sound stage exposing the construct of the sets and leaving all the pieces of the sets exposed to the audience at different times.

Ms. Lathan is pitch perfect in her delivery and timing.  Stephanie J. Block is marvelous as the young Hollywood star, Gloria Mitchell.  It was a pleasure to see the ever-handsome Daniel Breaker perform both of his charmer roles.   Karen Olivo gives a hysterical performance as Anne Mae in Act I and a slightly more serious one as poet, rapper, lesbian, feminist, Afua Assata Ejobo.  Kimberly Herbert Gregory charms us as Lottie in Act I and provides some over the top commentary as the intellectual Carmen Levy-Green in Act II.

No spoilers here, but I'll just say Ms. Nottage's message is brilliant.  If you think about it you'll realize that maybe you shouldn't believe everything some seemingly intelligent and educated people tell you.  Just think about Vera.  You'll understand what I'm saying after you see it.

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 Boy From Oz