The Tonys Thoughts

Well, another year, another Tony Awards. This season was a pretty good one, with some real good theater, and there were a couple of tough tight fights in some major categories. My thoughts on this year's Tony's:

1. As hosts, Kristin Chenowith and Alan Cumming did a good job. They were zany and wacky most of the time, and I just wish there was an equal balance of elegant and class. But, they kept the show going at a great speed, and I felt bad for Kristin losing. I was rooting for her anyway, but to see her work her ass of and come home empty handed was heartbreaking. But Kelli deserved it, too, and yeah that whole she finally won a Tony thing.

2. I had no real horse between Fun Home vs An American in Paris thing. Though I am slightly for the latter. Fun Home is deeper work, but I found the score a little less tuneful. I would have voted for Kander & Ebb myself. 

3. The numbers from the musicals were all good: I thought "A Musical" from Something Rotten was a good opener, and the medley from "the King & I" touching. But the standout number for me was "On The Town," where you saw the real breadth and scope of the production. Out of context, the numbers from "On The Twentieth Century," and "The Visit" were just good. The "Fun Home" number was touching and brave: middle america needed to see that. 

4. The "In Memoriam" number was hyped but fell short, in my opinion. I would have wanted real Broadway singers (the house was full of them) Instead we get Josh Groban, who while competent, was just there to promote his new album.

But I may bitch and moan, still I look forward and enjoy teh Tonys every year.

Clearly It's Kristin (Theater Thoughts: On the 20th Century, American Airlines Theater)

Every once in a while, even a jaded theatergoer like me still gets shocked. yes, shocked from seeing something so good that my faith in theater is renewed. That's how I felt seconds into seeing the new revival of "On The Twentieth Century." now playing at The American Airlines Theater and produced by the Roundabout Theater Company. This is a show I have never seen, but whose original cast recording I have devoured when I was still "discovering"  Broadway scores. So I have only imagined Madeline Kahn doing the role of Lily Garland. Now that I have seen Kristin Chenoweth in the same role, she will forever be etched in my memory. As if I had a doubt before, but here Chenoweth proves her mega watt star power. And in playing role, her small frame gives a larger than life performance, and it is one of those performances that only comes once in a blue moon, and years from now, we will all be bragging about the time we saw her do this role. Yes, it is that great, and on Tony night, the theater community will not be able to resist giving her another Antoinette Perry.  She does everything here, and she does all of them big: she sings every note in the scale, she dances every step in the book, she chews every imaginable scenery - and she does them all with sheer delight. And she is supported by such a charming cast, starting with Peter Gallagher as her producer ex-boyfriend who is trying to woo her for a new production that will save his recent flops.  And Andy Karl, as her boy toy, displays comedic timing I never thought he possessed - and he was already sublime in last season's "Rocky." The score takes time to love, although once you do, it's irresistible. There are a lot of things happening on stage, and for the most part they all hit the right mark. But again, again, and again, it's Kristin - she carries this whole show, and lets it soar. On my death bed, this will be one of the highlights of my theatergoing experience.

Come Visit (Stage Thoughts: The Visit, Lyceum Theater)

Some people are just born stars. They bring lustre in even the dullest projects. Chita Rivera brings lustre and sparkle at The Lyceum Theater every night in "The Visit," and for ninety minutes you think all is well.

The show has a lot of things for it: it is based on the famed work by Friedrich Dürrenmatt, which I devoured when I was in High School, and the book is by Terence McNally.  It is even the last collaboration by the legendary Kander and Ebb, and stars Chita (no last names, just Chita)  It is directed by John Doyle, whose work I mostly dislike. I saw the Hal Prince production a few years back and I thought it was fine enough for Broadway.  What is on stage at The Lyceum doesn't really work in the most cohesive sense. First of all, it's sort of bi-polar: it starts out kind of bitter, then veers towards sentimentality, and touches on a little bit of dark humour. Yes, it's fine to see all those three things in one show, but in there it is never balanced correctly. The score is dark and Brechtian, and is melodious, complex, accessible, and haunting: just perfect match to the material. The costumes and sets are moody and match the score.

Chita is a marvel. From the moment she walks on that stage she commands it. A simple flick of her cape enthralls the audience. She is menacing, she is funny, she is a delight. You know you are seeing a living legend on screen, and if indeed this is her last Broadway role, then she leaves with a bang. If there is one compelling reason to see the show, it would be her. The rest of the cast services her well (Roger Rees is more an actor who sings and his pitch problems can be troublesome for others)

So is "The Visit" worth a visit? I think so - it seems almost a throwback from the Golden years of Broadway - an imperfect show with a memorable score and a major star.

Falling In Love On Broadway (Stage Thoughts: An American In Paris, The Palace Theater)

Sometimes, everything just gels. That happens at The Palace every night in "An American In Paris,"  Christopher Wheeldon's production which is an adaptation on stage of the 1951 film of the same title.  The idea itself is a tough act to follow: Gene Kelly, Leslie Caron, Vicente Minnelli. But Wheeldon infuses this production with some of the most gorgeous dancing in recent Broadway history that for that reason you will be enchanted by this show.  The ballet is threaded seamlessly with the show that it the story is told in three ways : by Craig Lucas' book, by Gershwin's music, and by Wheedon's choreography. Everything matches, everything fits, everything radiates with wit, effervescence, and elegance. Lucas' book has just enough ham for it to be charming, and matches the piece perfectly. And what else is there to say about the Gershwin melodies? I found myself laughing at "Fidgety Feet," wistful in Jill Paice's brilliant singing in "But Not For me," and Max Von Essen (the best voice on that stage) makes "Stairway To Paradise" soar higher than I ever thought it would. And speaking of, I thought the performances were all top notnh: all well-deserved Tony nominations for Robert Fairchild, Leanne Cope, and Max Von Essen. There's a youthfulness in Fairchild's performace that differs it from kelly's so after two minutes, I have all but forgotten Kelly's ghosts. And Cope has surprising layers in her acting - those doe-eyed glance showing hope, hopelessness, and vulnerability. And I think I would cry if Von Essen loses on Tony night: I loved his performance so much I found myself rooting for his Henri to end up with Liza. Above all, "an American In Paris" has that kind of rare thing that's hard to find in today's musicals: romance. Just plain old-fashioned romance. It made me want to go out on 47th looking for someone to kiss. even on Broadway, love is hard to find.

Dearly Darren (Stage Review: Hedwig And The Angry Inch, starring Darren Criss, The Belasco Theater)

It’s a long boring story how I ended up seeing Darren Criss as Hedwig. Needless to say, that show wasn’t my first choice to see that night. I saw the 1998 Off Broadway production with John Cameron Mitchell, and I wasn’t in love with the show then, but have full respect for Mr. Mitchell. I know the show has a cult following, and that’s fine – they are kind of like the Rentheads, I guess. I know someone who went to see the original production numerous times, and now on Broadway have seen every major replacement in this production since Neil Patrick Harris. I never saw Mr. Harris’ Tony Award winning performance, so I don’t know if that favoured my opinion of Mr. Criss who is now essaying this role. While I also like Mr. Criss, I also can’t say I am a big fan – I mean – he was cute enough on Glee, but and that’s all I really feel about him. So anyway, I have to admit it took me a little bit of time to warm up to this production – initially I am thinking this is too big for the show – the effects, the projections. There was a part of me who felt Mr. Mitchell copped out. But you know what? I mean, isn’t small, or biggishly small the whole point of Hedwig – a never was, slightly bitter, miniaturist fabulous performer? I can’t really say I loved this production, to be honest. I missed the intimacy of the show, where it felt like the theater was a dive bar. But they do recreate it in all its glory, for better or worse. And… (drumroll) Mr Criss surprised me. I went in hating the experience, skeptical of the production, but I felt like he worked his hot ass off to not just win me over, but have me go gags over him. While I have to admit that there was a big part of me who was imagining Mr. Harris doing the role, that quickly went away as I experience Mr. Criss – he has the stage presence, and this production shows off his skill set immensely. I would even say that he sang some of these songs, like “tear Me Down,” and “Midnight Radio” fairly better than how Mr. Harris performs it on the cast recording, which I have listened to. So it was a tough sell, but Mr. Criss delivered, and I left The Belasco Theater happier than when I entered - and that is a mighty good thing.

Betty's Still Here (Stage Thoughts: Betty Buckley at Royal Albert Hall, London)

Here is a stunning Betty Buckley at Royal Albert Hall. Probably my new favorite Carlotta, after Elaine Paige. 

Drive By Diana (Stage Thoughts: Diana Ross, The Essential Diana Ross, The Venetian Theater, Las Vegas)

Checking off my bucket list: seeing Diana Ross in concert.  I can't say that I am her biggest fan, but I do like her recorded output, though in reality I like her solo recordings more than her work as a member of The Supremes. But she obviously is one of the few living legends we have nowadays and it would be a treat, I thought, to see her. I wasn't mistaken. She still has that voice, and it's as robust. Sure, the styling is wispy, whispering, but it has always been that way. This is a Vegas show, so "The Essential Diana Ross: Some Memories Never Fade" barrels through all her hits in a seventy five minute show. Blink and you'll miss one. I guess she is more a 'nostalgia' act nowadays, as evidenced by the older-skewing demographic of the crowd. Still, the energy was palpable, and she got off on that - she is one of those "divas," I suspect who gets her kicks from people adoring her. Seventy five minutes go by very quickly here, and it mostly satisfies like junk food: before you can appreciate a song, she is moving to her next one. The repertoire is heavy on the uptempo, and even in the ballads (where I prefer her) she seems to be barreling towards them. And of course, her trademark sparkling sequins and feathers are in evident here. It seems like she spent just as much time changing as performing. But, no complaints there - she has a magnetic stage presence and you can't help but stare at her on stage. The whole experience felt like a drive-by shooting: quick fast, does what it is supposed to do. I think it's money well spent. 

Not So Plain Jane (Stage Review: Jane Monheit At Cabaret Jazz at The Smith Center)

Jane Monheit's voice is lush, supple, rich. Truth be told, I sometimes cannot listen to an album of hers in one sitting - the richness can be overwhelming Yet, as tracks, they always satisfy. That voice filled the Cabaret Jazz room at The Smith Center Friday night, and it reached every nook and cranny. It commanded, it powered it, and you had no choice but to be filled with it. I have not seen Ms. Monheit live in a long time. She wasn't as big a star then, and it is fantastic to see her a lot more seasoned. She definitely is a lot more comfortable on stage, and her patter reveals a little girl personality that is cute and appealing, though at times it borders on twee. But it's the voice, that's what's front and center and she brought it. Highlights for me include a melancholy "Born To Be Blue," an effervescent Judy Garland medley of sad songs (The Boy Next Door, The Man That Got Away, etc) and a slow burning "I'm Glad There Is You." Gershwin's  lightweight "My One and Only" suffers from the weight of her voice. Clint Holmes came up to duet on "Everytime We Say Goodbye," and their voices blended well enough.  I sometimes get hot and tepid on her melisma-like improvisations cause sometimes I feel they are too rehearsed. But that's just me being critical - she was in fine form, and in a perfect venue. It was as close to a magical night as one would get. In this world of ordinary singers, I am glad there is Jane.

The Kult of Kristen (Television Review: Kristen Chenoweth, "The Dames Of Broadway...All Of 'Em," PBS

Somebody somewhere, there's a place called Kristen, and it is magical, and musical, and magnificent. Tonight was the PBS broadcast of her show, "The Dames Of Broadway...All Of 'Em," which is part of the Lincoln Center American Songbook Series, which then was recorded live for PBS' Live From Lincoln Cenetr telecasts. Of course during that hour, time stood still for me. All the phones went off, the computer was shut down, and for sixty minutes, it was just me and Kristin. And let me tell you, I had the time of my life. Chenoweth presents a collection of songs from Broadway musicals, some from roles she played, and some from roles that has so far eluded her. We all know she can sing, and her supple soprano is featured here in all its glory. She opens the show with Frank Loesser's "Somebody Somewhere," and never gets off from that high. Among my favorite numbers were "Mr Snow," from Carousel and "100 Easy Ways To Lose A Man,' where in both songs she not only sings the songs but she sings them in context of the shows, paying attention to each nuance of the lyric. It really is the epitome of singing/acting the songs. She tells a funny story of how she played the role of Tuptim from "The King & I" and has the cast call her "Kristen Chen." Then she slays "My Lord And Master." I really cannot discern a misstep from the show, except maybe the non-broadcast of "Eidelwess" and "Dance:10, Looks:3" from the television broadcast (The latter song may have been cut for its racy lyrics) The last number on television is her touching lyrical version of "My Funny Valentine," which I think is one of the best versions of that song. While I totally loved this show, I do wonder how it plays in middle America. Most of the songs may be too esoteric for general audiences. But then again, if you are a PBS watcher, then this show was probably made for you. And me. 

I Hear The Bells (Television Review: Ring Them Bells, A Tribute To Kander & Ebb, Live From Lincoln Center, PBS)

I am loving the "Live From Lincoln Center" series more and more. This week they pay tribute to John Kander and Fredd Ebb (better known as 'Kander & Ebb') and their wonderful shows. The show features Marin Mazzie and Jason Danieley with special guests Joel Grey and Chita Rivera. The show was presented at the wonderful Allen Room, overlooking Columbus Circle in New York City. The show features one wonderful song after another. Grey starts with a performance of "Wilkommen," an iconic performance of an iconic role he originated. You want to talk about star power? He hasn't lost his touch. Some of my other favorite numbers: Danieley singing "Sara Lee" (originally composed for Kaye Ballard about the dessert brand) and a wonderful "Seeing Things" (from the musical "Happy Time")  It was a wonderful switch to have Danieley sing "Maybe This Time," with understated elegance instead of the usual bombastic version the song usually represents. Chita - just Chita - brings the house down with the definitive "All That Jazz." Seriously, no one else comes close. And then you can see Grey do such a character piece like "Mr Cellophane" and marvel at how he makes every character his own. It was also great to hear "Love And Love Alone," from "The Visit," a musical that hasn't quite made it to Broadway just yet (and hopefully at some point will) It's a beautiful romantic song with a sweetly melancholy melody. Mazzie gives enough justice to "Ring Them Bells," but I just associate that song with Liza and Liza only.  "I Miss The Music" is a song from "Curtains" and Danieley sings it here. It's about a composer who misses his songwriting partner. Presumably, Kander wrote the lyrics, reminiscing about Ebb, who passed away in 2004. Mazzie then sings probably my favorite song from the Kander & Ebb canon, "A Quiet Thing," and it's maybe a little too frenetic for my taste. All four of them close the show with a medley of more ditties: "Yes,"  and "Cabaret." I know it's only an hour show, but I thought they left out a lot: nothing from "Kiss Of The Spider Woman," and yes it is ubiquitous, but a smidgen of "New York New York" would have been nice. But of course, I am more than thankful that this show exists. 

Still As Easy To Love (Theater Review: Anything Goes, Touring Company at The Smith Center For Performing Arts)

I'll be the first to admit I am a Broadway snob, and believe it or not, I have never seen a touring production of *anything.* There was never a need to, since Broadway was very accessible to me, and I thought why go for next best when I can get the real deal? So when I got an opportunity to see "Anything Goes" at The Smith Center For Performing Arts, I approached it with a little bit of trepidation. I got it to the show just in time, so I had really nil knowledge of the production, except for the fact that it is by The Roundabout, which I have seen. (My original review is here. )  The first thing I thought of : well, it really does duplicate the Broadway production at The Stephen Sondheim Theater, and the quality isn't skimped. My second thought was: who is this woman playing Reno Sweeney, and she is much better than Sutton Foster! I never really got why she was such a hot potato - she is certainly competent and a great dancer, but her singing tended to be sharp and borderlining off-pitch. Ms. York fixes that, with a creamy voice that improves on Foster's. I have this cast recording on my iPod so I know the tracks well, and even though Foster's vocals have grown on me, it was nice to hear it sung better. And her dancing was also great, just as good as Foster's, and all in all, this production is great throughout. It really does preserve the integrity of the Broadway production, down to the details of the sets and costumes. I have loved it before, and it's much easier to love now.

Love Is Never Gone (Review: A Singular Senation, Live From Lincoln Center, PBS)

What a way to start 2013! I am too old for current pop sensations, so I might as well go for the one singular sensation! One Direction? Not going there. Rhianna? Never mind. I am going for what I consider real talents: real voices with no vocoders and pro-Tools. Last night, PBA aired "One Singular Sensation: A Tribute To Marvin hamlisch," and in my opinion, a great alternative to the noise and merriment in Times Square, about twenty five blocks north of the crystal ball. And what a wonderful, dignified evening: After a soaring "A Chorus Line" overture, Audra McDonald sang a luminous "The Way We Were," sounding like I have never ever heard that song sung before. Then Megan Hilty - a true Broadway star of today if there ever was one - sang a sexy "Nobody Does It Better." Joshua Bell plays a soulful violin of "I'll Take Manhattan," with dear Marvin "on piano," and it was quite touching. Then guys take stage: an understated Michael Feinstein and Josh Groban, in all his tenor wonderfulness. The little spitfire Lilla Crawford sings "Disneyland," and while a little inappropriate and a tad pitchy, the spirit is there (And while we are at it, how about a "Smile" revival?) A duo of songs come next via Raul Esparza and Kelli O Hara , both wonderful songs from two of my favorites. And who knew Beth Behrs (of Two Broke Girls) could sing, and does a very good Val singing "Dance 10 Looks 3."  Maria Friedman sings a song from "The Nutty Professor," and it's a wonderful ballad from Hamlisch's last show. Though Brian D'Arcy James was a bit excessive, he's in character. And Maria Friedman doing "nothing" was a little to much as well. What comes next is pure perfection, though: Audra, Megan and Kelli singing "At The Ballet." I still get chills thinking about that number. They all converge for "What I Did For Love," and "One" for a rousing finale, and yes, it was such a beautiful end. It was nice to see an old friend, Tedd Firth, on piano - oh how he has risen to the big leagues now. This, for me, is the perfect enjoyable musical evening. Yes, it may not have the current factor of Psy, but I will take it.

And So This Is Christmas (Stage Review: A Christmas Story, Lunt Fontanne Theater)

Apparently, the film "A Christmas Story" is beloved and iconic. I have never seen it. So of course, I also had no desire to see this production. But when the reviews started coming in after the show opened, it had almost unanimous raves and it piqued my interest. "A Christmas Story, The Musical" is quite terrific, and is a must-see if just for the one scene with Caroline O'Connor and Luke Spring. In the second-act opener, they star in a dream sequence set in a speakeasy, they have a tap-off and it's such a rip-roaring crowd pleaser that you won't be able to help but give in. Spring, is a little dynamite that I would give him a Featured Tony award if I had my way. And Caroline O Connor, how come I have never seen her before (or have I?) I know she is a West End legend, and I do have all her CDs, but she is the real deal. (She should have taken over Evita across the street) Seriously, that scene so won me over that I feel like they eclipsed the whole show (and they aren't even the stars!) Based on Jean Shepherd's autobiographical radio show, the story isn't much: little Ralphie wants a Bb toy rifle for Christmas, but things don't go his way before the big day. Along the way, we get to see his eccentric father and his obsession with a leg lamp, and there is a school bully storyline that's just a little creepy for me. I wish I could say that I was fully engrossed in that storyline, but let's just say that I am not its target audience. But, the tuneful score by Benj Pasek and Justin Paul is good enough (I think repeated listenings would make me love it more) and there is a serviceable set by Walt Springer and inventive choreography by Warren Carlysle (he makes good use of the leg lamp) Though I probably would listen to the score, I don't know if I would want to see this show again - but it's just me being a scrooge. If this sounds like something you would see, then I can assure you that you would love this.

Saving Grace (Stage Review; Grace, Cort Theater)

There is nothing new in "Grace."  Craig Wright weaves a story about faith, and how it is tested. And it's pretty much by the numbers. The direction makes it clear that there are no surprises here. We know s soon as the curtain rises that something terrible will happen to the main characters, Steve and Sara (played by Paul Rudd and Kate Arrington) So we get set up on appreciating how we get to that terrible place in their lives. And we ask ourselves, what is this play trying to tell us, what are we to infer, to judge, to take from this evening? As the play is written, not much. But, strangely, though, I still found "Grace" to be a satisfying evening. Why? Because of the electric performances. Paul Rudd, as a religious Christian who moves with his wife to Florida, is a natural actor, who plays the role with charm, obnoxiousness, and passion. He never goes over-the-top which could have been an easy and obvious trap. You feel he doesn't have a desire for the character to be understood deeply, but you do anyway. When his character reaches a breaking point, it is realized: you aren't surprised by the characterization even if the situation is surprising. Arrington is perfectly foiled: she brings a softness and vulnerability to her role. Shannon is fantastic, too. He is low-key and down-to-earth. Ed Asner steals his scenes, but then his role was written that way. Dexter Bullard, the director has fine touches - the turntable stage hasn't been effectively used since Les Miserables. The play may be lightweight, but the amazing performances here are the saving grace for the evening.   

Maybe, Just Maybe (Stage Review: Annie, Palace Theater)

ANNIE was my very first Broadway so it is very close to my heart. I didn't even realize that while watching it, I knew all the words to the score: it is simply one of the best ones there, so effervescent, so hopeful, so tuneful. I was ready to be touched, and I was ready to be wowed. This show has also never been timely: these are dim recession days, and yes, we can all use hope, and this show gives those in spades.

Too bad, I only just liked the show as a whole. There are some great performances anchoring the show. It is my first time seeing Anthony Warlow, an Australian theater superstar, and I think he has one of the greatest voices on the boards today. He has great rapport with Lilla Crawford, who plays the adorable tot. She has a great set of lungs, and serves the score very well, but there's something in her performance that doesn't score a home run: is she not big enough? I felt she took the role a notch lower. Katie Finneran, as Miss Hannigan, should be better. Again, there's something off. I have read people describe her performance as joyless, and maybe that's it. 

I also think that's what the production is missing for me: it could be a little more happy. Perhaps James Lapine's hand was just a little bit too heavy for this show. The sets are a bit too drab, and seems cheap, and the costumes are right, but not dazzling. The choreography is horrid - it's pretty lifeless. I know there are complaints that there are no buckets in "It's A Hard Knock Life," but the idea could have worked. I can't help but feel a little underwhelmed by the whole thing. 

Thank God for the score, and it hasn't lost its luster.  When Annie sings "Maybe," I couldn't help but shed a tear. And I have always loved "You're Never Fully Dressed Without A Smile," and even if it is probably the most oversung showtune of all time, "Tomorrow," is still "Tomorrow." . This is one of those shows where you leave the theater humming, and one cannot say that about a lot of scores nowadays.

A Feeling Deep In Your Soul (Stage Review: Barbra Streisand, Back To Brooklyn at MGM Arena)

Sometimes, someone just gives you the ultimate feeling: that feeling deep in your soul, says you were half now you're whole. I have listened to Barbra Streisand all of my life, and I will probably listen to her till the day I die. It was a treat to see her in 1994, and I seriously felt blessed to have seen her then. I thought it would be a once in a lifetime thing. It turns out I will experience the Barbra experience twice in a lifetime. Last night, at the MGM Grand, Barbra proves she has still got it. Harsh critics will argue that the voice isn't what it used to be, and sure the pure dulcet tones have aged and mellowed, but at 70, by God, that voice is still a force of nature, and yes it is still like buttah. The high notes seem clipped, but she still possess such control of it that it hardly matters. It is not a shadow of itself, it is still front and center, and you will thank the lucky stars that you heard it live! The repertoire is almost exactly all from The Great American Songbook, just the way I like it.  It was wonderful to hear her sing "Bewitched Bothered and Bewildered" with its original orchestral and vocal arrangement, and even if that particular  song has been played more than a hundred times on my iPod, last night it felt like I was hearing it for the first time. Another one I loved was her duet with Christ Botti, a fine medlette arrangement of "What'll I Do," and "My Funny Valentine."  The former is a song I always wish she had sung, and I guess I got my wish. Another Irving Berlin song I have always wanted to be Barbra-ized was "How Deep Is The Ocean," a song that I have emotionally connected with. I got half my wish - she duets that with her son, Jason Gould, and while I felt she was just "supporting" him here, it was still a treat to hear her sing Berlin's wonderful lyrics. I can go on and on, there's a rousing "Make Your Garden Grow," a rare gem in "Lost Inside Of You," or a powerful "Some People" paired with "Don't Rain On My Parade," but that's just stating the obvious. I have always felt Peter Matz's arrangement for the single version of "People" was fantastic, and it was nice to see her sing that version last night. One cannot be more effusive when describing a Barbra Streisand evening. My 1994 experience was more of an epiphany, it had the quiet explosive energy. Last night was more familiar, more intimate. I closed my eyes at one point and felt I was at The Bon Soir, and by God, it felt like I was really there, and the world was more innocent. 

Cheese & Corn (Stage Review: Donny & Marie Osmond with Susan Boyle, Flamingo Hotel, Las Vegas)

You know exactly what you are going to get when you go to a Donny and Marie show.And if that means something cheesy and something corny, then so be it. As for me, I personally like cheese, and corn, so what's the problem? Their current show at the Flamingo Hotel, "Forever Fabulous," is one of the few shows that sell out night after night, so they must be doing something right for their fans. And on Wednesday night's performance, I could see why: they give 110 % of themselves for their fans. Sure, some of the energy could probably be misguided: Marie's trying-too-hard soprano for Andrew Lloyd Weber's "Pie Jesu" was almost laughable, and when Donny tries to rock ("Crazy Horses") it just seems forced. But give these two an A for effort: they give the songs their all, for better or worse. They fare better with their hits: "Paper Roses," and "Puppy Love" got enormous applause, and deservedly so. They may scoff at these bubblegum pop, but that is their bread and butter, and I lapped it up. And the two of them, after all these years, still have sizzling chemistry. I could watch them banter with each for a whole night. Donny is a guest on Susan Boyle's newest album, so she surprised the audience by showing up to sing a duet last night, an unfortunately arranged, "This Is The Moment," a song I didn't think could sound any worse. I don't think there was anything natural in the orchestration, and Susan Boyle - oh my, what else can I day about her? She was just sad. Like literally, sad. While singing, she started at empty space, not even bothering to connect with Donny. Marie says later on that she grew up worshipping Donny, so I am guessing she may have had a case of nerves. But still, I found it inexcusable to not even know the words to her song (Donny could be seen prodding the lyrics) Is she on drugs? Is she sick? Is she really that unprofessional? It was kind of scary, to be honest. 

The Art Of PersuAsian (Stage Review: Allegiance, Old Globe Theater)

After the Japanese bombed Pearl Harbor, President Roosevelt authorized the forced evacuation of more than 120,000 Japanese people living in the West Coast (a lot of whom were Japanese-Americans) and sent them to internment camps all over the United States. These people were forced to uproot everything they had. At the time, the American government insisted there were no racial prejudice in the decision, they decades later, they recanted and apologized. This incident is the basis for the musical "Allegiance," which opened last night at the Old Globe Theater in San Diego, California.  I thought the story was interesting and unique, and I had high hopes for this production, which begins its pre-Broadway run. The book, by Marc Acito, Jay Kuo, and Lorenzo Thione, is wonderfully written, with a great balance of the historical and the romantic. However, the music was a case of schizophrenia: it toggled between generic ballads, pop songs with tinges of Japanese indigenous melodies, and angry.ironic pieces. I wish it had a more cohesive sound - there is one song, "With You," that sounded like songs from the WW2 big-band area that was melodic and appropriate for the piece that made me wish was the style of the whole show.The direction is solid, too, if a bit uninspired: there are numbers reminiscent of other shows: one number is derivative of the Master Of Ceremony one from "Cabaret," and there seems to be an unconscious attempt to crib from "Miss Saigon."  Lea Salonga, as Kei Kimura, runs with the show.  It is amazing that she sounds just as good as she did in "Miss Saigon," which catapulted her to stardom more than two decades ago. Even her acting, which was tentative then, is assured and solid here. No wonder the show is basically handed to her. She is given a lot of solos, some of which do not forward the story. Don't get me wrong, it was nice to listen to her sing, but this ain't her concert. Telly Leung, as Sammy Kimura, is the heart of the piece and tries his best to fill large shoes, but in my opinion is miscast: I wanted someone with more commanding stage presence (I suspect he fares better on television)  When he is on stage with Salonga, his voice is dwarfed by hers. George Takei's as the elder Sammy Kimura bookends the show, and delivers. His character is fully three dimensional when he is playing it while on Leung's hands it is not as realized. All in all, "Allegiance" is still very much an imperfect show, and I wonder if it's broad enough for a Broadway stage. I also wonder, in this day and age, if the subject is much too niche for a mainstream audience. I still believe there's a great show there somewhere in this production, I just don't think it is on stage at the Old Globe.

Ain't It Nice! (Stage Review: Nice Work IF You Can Get It)

When it comes to Broadway musicals, my taste skews towards the old-fashioned. "Nice Work If You Can Get It" is old-fashioned, alright, and I loved it. It is a glorious parade of Gershwin songs, and about ten minutes into it, I found myself with a silly grin, in a happy place, intoxicated with its fizz and sparkle. It's definitely a "throwback" to musicals of yesteryears: star leads, thin book, lots of madcaps, splashy production numbers? And what's wrong with that? For me, nothing. Today's audience may nto totally love its long-ish running time. If I may admit, some numbers could be cut. It's vaudeville-ish in a way: each character has specific musical numbers, and some minor characters may not merit theirs. But Kathleen Marshall's very specific point of view is great. So yes, more than a couple of things may be reminiscent of what she did for the Roundabout revival of "Anything Goes," but they work. I consider the two productions twin sets. They both work. And there's a low-key but effective chemistry between Matthew Broderick and Kelli O'Hara. True, Broderick is low-watt compared to everyone else on stage, but it seemed a perfect counterpoint to O'Hara's comedic foil. I was quite impressed with the latter - I hadn't realized she could be funny. Judy Kaye won a Tony for her performance, and she is fine if a bit underutilized (I would have given the Tony to Elaine Paige, though.) And can I talk about the wall-to-wall Gershwin songs. They really are tiemeless, and I could hear Kelli singing "Someone To Watch Over Me" for the rest of my life and wouldn't be bored by it. But my favorite thing about the musical: it made me feel good, it made me think about romance, it made me feel like dancing as I was leaving The Imperial Theater. very few things in the world can do that to me. 

And The News Is The Same (Stage Review: Newsies)

I dislike most things Disney. there, I said it. I know that for some people, that is just like saying "I am the Anti-Christ," bet be that as it may. So even though "Newsies" opened with hype of all hypes, I was still resisting it. And after seeing it, I liked it. But I wasn't totally wowed, and I thought its appeal was infectious. It has a heart, and even though it is beating and alive, I thought it was made from synthetic problems. Based on the same Disney movie (which I thought was insufferably bad) the book, by Harvey Fierstein was adapted for the Broadway stage. The music, by Alan Menken, and the lyrics, by Jack Feldman are catchy, and appropriate, but I felt like it has been test-marketed and sliced and diced by the most rigid Disney standards. While I like it, the whole score, to me, sounds like one song: tuneful, then it goes to soar. Then add to the mix a robust choreography by Christopher Gattelli and performed to athletic perfection by young men as if they are are auditioning for "So You Think You Can Dance." (I hear some dancers are graduates from that show, anyway) The ingredients all add up to a perfect stew, but maybe that is what I don't like about it - there is no roughness, no surprise, no edge. Well, sort of like something Disney. Jeremy Jordan, as Jack Kelly, is charismatic, but I thought his performance is by-the-numbers, and I actually preferred him in last year's flop, "Bonnie & Clyde."  Capathia Jenkins is great in her one-note number, and Kara Lindsay looks pretty and generic as the leading lady. Like I said, everything here is so matchey matchey and nicey nicey that it makes for a nice wholesome evening. For a lot of people, that is Broadway. It's only part-time for me.