Catch Me If You Can

Just when I thought I'd seen the best new musical of the year, along comes another!  Look out theater aficionados, another potential blockbuster has just landed on Broadway.  Terrance McNally's book transforms the already slick, fast-paced silver-screen story of Frank Abagnale, Jr. into an elegant, high-energy Broadway show with beautiful show-girls (and boys) and a fantastic musical score by the creative team of Shaiman and Whitman.

Piloting this juggernaut are the ever adorable and talented duo of Aaron Tveit (Frank Jr.) and Norbert Leo Butz (FBI Agent Hanratty).  Supporting cast and crew includes Kerry Butler (Brenda Strong) as his fiance and Tom Wopat (Frank Sr.) as his father.

This version takes a more personal route of storytelling, cleverly weaving the story of who Frank Abagnale, Jr., one of the largest con-men of our generation, was, what motivated him, and perhaps a hint at why he did it.   The story is told as a flash-back.  The story opens up with Frank being caught and he has the thought that the people around him just might be interested in why he's being shot at and pursued (the preverbal light bulb moment).  The show (within the show) then unfolds as he literally tell the story and introduces the characters from his rather surreal life.

For the entire 2:40 minutes - you'll be dazzled and treated to top notch performances  - most of which include Tveit who is rarely off-stage.  And speaking of the stage - the sets by David Rockwell are incredibly classy - an elegant, big-band feel, the orchestra on stage atop a dual grand staircase which provids for perfect showy entrances and exits.  The production did have an out-of-town try-out in Seattle, but changes are still being made.  Is it perfect yet?  Not quite - but I took a few notes for choreographer Jerry Mitchell and director Jack O'Brien.  I hope they can tighten up the dancers.  The choreography is brilliant but on more than one occasion the tires tended to come off the bus.  The Family Tree number presents physical challenges - one mis-step (as Mr Tveit had at my performance) and it could all fall apart.  Mr. O'Brien needs to cut the drawn out final scene and two numbers - and for God's sake - do an encore of "Don't Break The Rules".  It would bring the audience to its feet right in the middle of Act I.   These few notes aside, for only its 2nd week of previews this show is in terrific shape.

Dare I say - we have a battle Tony battle brewing on Broadway already?  Book vs Catch.  There's plenty to be smiling about leaving the theatre these days.   I just may go back for more of both!

HERE'S A LITTLE PEAK AT THE CAST AND CREATIVE TEAM:

Sondheim on Sondheim

A thoroughly enjoyable multi-media evening spent learning about the musical legend, Stephen Sondheim, at the legendary Studio 54.  My only complaint is that I spent over $400 bucks for a subscription to the Roundabout Theatre company - expecting to see great plays and musicals - and instead i get this.  It's cheap to produce and not what I signed up for.

Thumbs up to Barbara Cook and Vanessa Williams - two great voices from two generations.  Kudos to Leslie Kritzer and Euan Morton who solidly rounded out the cast and brought many laughs.   Norm Lewis is not stranger to the stage, but I'm not sure he was right for this role.  And then there's Tom Wopat.  Why people think he can sing and act, I'll never understand.

Mr. Sondheim materializes all evening on the fancy-schmancy TV monitors that morph all over the stage the entire evening.  He sets the scenes, tells the story and even makes us laugh and cry in the trip of memories down Sondheim Lane.  One wonders if he's so busy that he couldn't make an actual appearance live on stage in the very show that is a tribute to him.  Oh well.   The talent  gets an A but Roundabout gets a D for effort on this one.

A Catered Affair

The iconic Harvey Fierstein has penned a beautiful book for this new musical - originally a 1956 motion picture written by Gore Vidal and turned into a teleplay by Paddy Chayefsky. For the trivia buffs in all of us, the movie starred Bette Davis, Ernest Borgnine, and Debbie Reynolds.

At its core, the story here remains the same. It's a tale that sadly sums up an entire generation of teenagers of the post WWI generation. The ones that got married way too early because they "had to". It's the story of regrets, of dreams forgone, and of the desire for your children to have a better experience.

Highlights: The lovely and talented Faith Price (Noises Off, Guys and Dolls) and newcomer, Leslie Kritzer (Legally Blonde). A dramatic mother-daughter duo that will bring tears to your eyes.

Neutral: Tom Wopat - dramatic portrayal of the father was convincing and skilled, yet his singing just isn't up to the same level as his acting.

Problematic: Harvey Firestein - OK, so he's written a beautiful, poetic, and touching dramatic work for the musical theater stage. Yes, there's a gay uncle who's funny and poignant and if that's all the part was, it would be perfect for him. But the part requires singing and it just pains me to hear him attempt singing. It's a musical. If this show was possibly billed as a "Play with Music", perhaps it would be acceptable. Music and singing, in that case, would not be the focus. His stage presence, artful acting and comedic timing just could not convince me to overlook the musical deficit.

It was a mistake for Harvey take a role. Writing the part would have been enough for me to leave the theater saying, "That Harvey, he's a genius with a pen". Re-cast with powerhouse talents equal to those of Faith Prince, this show has the capacity to be a Broadway juggernaut much like it's predecessor at the Walter Kerr, Grey Gardens. As-is, it's still a poignant musical drama written by a talented iconic figure, but fails to deliver on its full potential.

Glengarry Glen Ross