It Shoulda Been You

Fasten your seat belts because David Hyde Pierce's directorial debut on Broadway is going to be a wild ride.  Prepare for hilarity, mix ups, and mayhem, in what just might be the funniest original musical on the boards right now.

Helmed by the incomparable Tyne Daly (Judy Steinberg) and the zany Harriet Harris (Georgette Howard), the show revolves around the marriage of their two children Rebecca Sternberg (Sierra Boggess) and Neil Patrick Harris' husband a.k.a David Burtka (Brian Howard).   Although below the title, the real workhorses of this show were Edward Hibbert (Albert, the wedding planner) and Lisa Howard (Jenny Steinberg) sister of the bride.

The show has a real heart and as it turns out, a real message too.  At the same time funny, and tender, Brian Hargrove's (husband of Mr. Pierce) book and lyrics bring this 105 minute, no-intermission show to a joyous celebration of life.  Barbara Anselmi's music is serviceable with a few high notes but we're not going to see any Tonys come out of this one.   But make no mistake, the comedic skills of the two leading ladies - Ms. Daly and Ms. Harris as well as those of Mr. Hibbert are most of what makes this show a smashing success.  The good looks of Ms. Boggess and Mr. Burtka are just icing on the cake.

One under-the-radar and certainly under-promoted stars on the bill is Josh Grisetti (Marty Kaufmann).  From his debut in the audience to his silky smooth voice and the emotional conclusion, Mr. Grisetti imbues a nebbish yet sexy and powerful persona in Marty.  His significance to the plot is paramount and by the end of the show you've changed your entire opinion of him.

This show has a lot of doors and a fair amount of physical comedy to which timing is the key.  It reminded me of Noises Off.  The entire cast works really hard and climbs and descends the two story set throughout the show.  I must assume they'll shave about 5-10 minutes off the show as they perfect the timing and tighten up the scene changes and the curtain call.  

Bravo Mr. Hargrove and Mr. Pierce.  You've got a top notch cast singing and acting their heart out every night to what I can only suspect will be to thunderous applause and a feel-good exit from the theatre.  Isn't that exactly how it shoulda be?  :-)

Mothers and Sons

Investing in Broadway has one downside - I can't objectively review the shows. (After all, I want to make a profit!).  From the moment I heard about the text and substance of this play I was on board.  I do not regret it for a single moment and last night's opening performance was simply mesmerizing and a story whose time on Broadway has finally arrived.

Don't just take my word for it - see what the folks who get paid to do this sorta stuff have to say:

Reviews - Click Here

Master Class

Tyne Daly?  I don't know what you are talking about.  I saw a show with Maria Callas in the flesh.  No? I could have sworn....

Tyne Daly takes command of the stage at 8:07pm and holds court, except for a brief interval, for 2 1/2 electrifying, mesmerizing hours as the incomparable, indomitable Maria Callas, star of the opera, diva extraordinaire!

As you would imagine, the play takes the form of an actual master class.  Three already very talented students of the opera (Sierra Boggess, Garrett Sorrenson, Alexandra Silber) are scheduled to perform for Ms. Callas and we, the audience, are there to observe and learn as she critiques.  And boy, does she critique.  A truly clever idea for a play  - as the 4th wall is not present.  The lights stay on in the house occasionally and the actors look to and converse with the "other students" filling the seats in the house.  As for Ms. Callas, never one to be shy, she picks and pokes at all aspects of her her students' performances - their entrances, clothing, diction and choice of music, to name a few;  at the piano accompanist, Manny (the uber-adorable Jeremy Cohen), the dis-interested stagehand (Clinton Brandhagen), and occasionally the audience too (none of you have a "look").

Terrance McNally has not only captured the current Ms. Callas, but brilliantly weaves her storied past into the performance to craft a more complete understanding of this dynamic woman we see before us.  Director, Stephen Wadsworth, takes us on a journey using very simple (almost non-existent) sets, superb lighting, and movement to navigate, almost operatically, thru the crescendos, decrescendos, sfortzandos and pianissimos of Ms. Callas' storied life - both on stage and off.

Ms. Daly's performance is as close to flawless as one could imagine.  Her diction, wit, humor, force, sheer presence, and overall performance are magnificent.  Maria Callas used to say that she was channeling the music all the way back thru a character to Verdi or Shakespeare.  Ms. Daly was most certainly doing the same to Ms. Callas.

Tyne Daly?  I don't know what you are talking about.  I saw a show with Maria Callas in the flesh.  No? I could have sworn....

Rabbit Hole

Well they just don't tell you on the posters just how biting this show is going to be! After about 20 minutes you come to realize that Cynthia Nixon and John Slattery have lost a child - and the drama doesn't stop there. The younger, quite irresponsible sister finds out she is pregnant - quite an inappropriate time for it, as you would imagine. Mom (Tyne Daly) doesn't help out with her meddle-some nature and insistance that the family seek help with their greif. Dad wants his son's dog back from the family they sent it to right after the accident, but wants to sell the family house and move to a new place. Throw in a visit from the young boy who actually killed the son (a car accident) - and you have one evening of high drama and tension in the family house!

In the end - it seems that the message is that everyone deals with greif in their own way and in their own time. Well - that may be true - but you'd better buy your ticket to see this show on ITS timeline - or you'll miss a true gem and an extremely talented cast!