Category: Broadway Reviews

The current revival of Hello, Dolly! has been a phenomenal success.  Bette Midler headlining as Dolly Levi proved to be a casting gold mine.  Her fanbase enveloped her with rapt adoration and she won every award possible.  I was a bit less enthralled about her performance than the majority.  She was indeed funny, as always.  She has outstanding presence.  I thought her vocals weren’t quite up to the challenge of the material.  I also felt she played Bette Midler not necessarily Dolly Levi.  I will admit that the role is certainly a star vehicle and I assume the role’s originator, Carol Channing, oozed Carol Channing.

I decided to see two-time Tony winner Donna Murphy’s version of Dolly which she does on the days Ms. Midler does not perform.  What was a fun revival became a celebration of this beautifully created old school musical.  First, her performance is surprisingly bigger.  The scene at Miss Malloy’s Millinery was elevated from spirited hijinks to outrageous tomfoolery.  As a replacement in the role of Barnaby, Charlie Stemp was not only a welcome physical comedian but also an excellent dancer.

Ms. Murphy also brought some additional vulnerability to the character which helps deepen her relationship with Horace Vandergelder (David Hyde Pierce, superb).  The show seemed more in balance and the conclusion more organically reached.  Yes, she’s a meddling matchmaker and a wisecracker.  But she’s also a widow who knows it is time to move on.

As for the singing, Ms. Murphy knocked everything out of the park and I finally heard the version of “Before the Parade Passes By” that I was craving.  While the entire Harmonia Gardens Restaurant scene is still a little flat (or maybe dated), the title song is a joyous Broadway top shelf masterpiece and the audience was beside themselves with the exquisitely executed version here.  Jerry Herman’s score is so good; I was thrilled to hear it performed this well.  The standing ovation at the end of the show was deafening.  And well deserved.  I am sorry Hello, Dolly! is closing later this month because Ms. Murphy is still crowin’ and still goin’ strong.”  Hurry if you can as her performances are not sold out.  They should be standing room only.

www.hellodollyonbroadway.com

theaterreviewsfrommyseat/hellodollybettemidler

The magic that is musical theater allows for the improbable to be born.  Jeff Whitty conceived a musical based on The Countess of Pembroke’s Arcadia written by Sir Philip Sidney towards the end of the 16th Century with songs written by the new wave pop band The Go-Go’s towards the end of the 20th Century.  The mash up is not subtle.  In this revision, the realm of Arcadia is famed for its beat, hence the opener, “We Got the Beat.”  Head Over Heels is a tale of a king and queen, two princesses in need of suitors and prophecies from the Oracle of Delphi.

Fun is in abundance in this show, staged as an old school musical comedy entertainment complete with clam shell lights on the stage.  The original story is famous for its coverage of sex, politics and cross dressing.  Which suitor will our Princesses pick?  And why?  Let’s just say that the tag line from The Drowsy Chaperone would work here:  “mix-ups, mayhem and a gay wedding.”  Head Over Heels received advanced publicity for hiring Peppermint, a transgendered performer and finalist from Ru Paul’s Drag Race.  Broadway has it first trans character originated by a performer who is trans.  Playing the Oracle Pythio, Peppermint’s acting is just ok.

Everyone else in this frothy frolic is spot on.  As Musidorus, the shepherd who fancies a young Princess Philoclea (Alexandra Socha, lovely), Andrew Durand is simply hilarious, culminating with an Act II slapstick routine that affirms his place as show stealer of Amazonian proportions.  Not to be outclassed, Bonnie Milligan’s vainly beautiful Princess can dish out the comedy and belt Go-Go’s tunes despite the illogical sounding concept of a Go-Go’s tune being actually belted.  Ms. Milligan shines brilliantly in the role.

All of this nicely orchestrated farce has been directed by Michael Mayer (Hedwig and the Angry Inch, Thoroughly Modern Millie, Spring Awakening).  Head Over Heels is an odd combination of “ye olde England” and songs which seem a bit thin musically for the Broadway stage.  Get past that (and I did) and you will enjoy a fizzy, lusty tale of love, desire, freedom and tolerance.  The set design by Julian Crouch enhances the story with clever visual delights.  Special thanks to the sound designer Kai Harada for an ideal blend of voice and music, never allowing the band to overshadow the vocals.

Who is the audience for Head Over Heels?  People who want to be entertained in an evenly paced, bawdy old-school, relaxed, witty way.  If you know the song “Mad About You,” all the better.

www.headoverheelsthemusical.com

Important background information required to put this review in context.  I was born in New Jersey and was in middle school when Born to Run was released.  Bruuuuuce was listened to and worshipped.  I saw two different tours, The River (1981, South Bend, IN – Go Irish!) and The Rising (2002, Madison Square Garden, NYC).  Along with the E Street Band, Bruce Springsteen was one of the greatest, most entertaining rock concert performers I have ever seen.  To be clear, I would put myself in the category of general fan.  I don’t travel in the online circles that discuss the playlists at every single performance.  That is the level of intense devotion and huge expectations for those lucky to have tickets for Springsteen on Broadway.

If you come to this show expecting genius, you will be rewarded.  If you come expecting a feel good sing-a-long concert while you continually keep trying to swig white wine out of a long ago drained plastic cup (seat next to me), then you might not get the experience you imagined.

Springsteen on Broadway is EXACTLY what the title promises.  Bruce Springsteen not as he would be in an arena but in a musical he wrote and directed.  At 68 years old, it is a career retrospective for sure but intimately rendered in exquisitely detailed, poetic storytelling.  Yes he performs his music but it’s the book of this show that is spellbinding.  He covers everything from personal relationships to career development to the symbolic tree in his front lawn as a child.  All of this is riveting, gorgeously written and exceptionally performed.

Mr. Springsteen elevated his brand of rock n’ roll to the top of the music business.  In this production, he has now elevated himself into some kind of philosophical priest (perhaps a nod to the Catholic upbringing).  What really struck me was how he has transformed the depth of book writing for a Broadway jukebox musical.  This show is not a piece of throwaway fluff like Summer:  The Donna Summer Musical.  Instead the show is a solo piece by one of the most thoughtful, open, imperfect, real and talented musicians ever.

I can imagine this solo piece working for other actors in the future, the monologues are that good.  It will be impossible for me to ever hear Born in the USA the same way again.  Having seen Bruce himself make this scripted affair sound like casual off-the-cuff conversation is a testament to the brilliant staging.  Springsteen on Broadway is a very, very, very expensive ticket.  Isn’t it nice that the show exceeds expectations on every level?

www.brucespringsteen.net/broadway

www.theaterreviewsfrommyseat/summer

Broadway is filled with magical wonders this spring.  There is the literal magic performed by wizards within the groundbreaking stagecraft of Harry Potter and the Cursed Child.  Elsa’s got a way with ice in Frozen.  There is the spectacular watery wonderland of SpongeBob SquarePants.  Now I can add Carousel to this list.  The magic here, however, is defiantly and ingeniously old school.  Santo Loquasto’s scenic design harks back to Broadway magic from when this show originally ran in 1945.  This version is a scintillating combination of placing both the story and its staging in the past (cleverly painted backdrops) but adding some modern flourishes (opening carousel).

Time magazine named Rogers and Hammerstein’s Carousel the greatest American musical of the 20th Century.  Having never seen this show before, I’m glad I waited for this avalanche of greatness.  The book, music and lyrics are so well integrated from light-hearted comedy to the broodingly darker scenes.  The melodies are gorgeous while the words give insight into these characters and their complicated feelings.

Joshua Henry (Violet, The Scottsboro Boys) plays the tightly wound but irresistible carnival barker Billy Bigelow.  Jessie Mueller (Waitress) is our comparatively innocent Julie Jordan who falls for him right from the start.  Both sing beautifully and the acting is so natural and detailed that these character’s personalities are heartbreakingly alive and electrically charged.  The chemistry on display propels all of which follows.  And that chemistry extends across all the principal performers and a superb ensemble.

Carousel and its predecessor Oklahoma are famous for their Agnes De Mille ballets.  The show opens with a prelude “The Carousel Waltz” choreographed by Justin Peck.  The dancing in this show is extraordinary.  It’s original yet harkens back to its ballet heritage.  The movement from these dancers precisely aligns with the musical notes while embracing emotion and never breaking character.  Hands down the finest choreography in years.

Another big highlight is Lindsay Mendez (Significant Other) as Julie’s best friend Carrie Pipperidge.  Carrie has great songs and the best jokes.  Ms. Mendez nails everything perfectly in character.  The first song in the show is her duet with Ms. Mueller called “You’re a Queer One, Julie Jordan.”  I found it remarkable that these two actresses sounded like they were singing in a long ago style.  When you add in the visual surroundings of this old school musical, the rewards are seemingly endless.  We just have to thank director Jack O’Brien (The Coast of Utopia, Hairspray) for an awesome revival of a masterpiece of American musical theater.  This Carousel is essential viewing and a very special brand of magic.

www.carouselbroadway.com

The Academy Award winning song “Let It Go” from the colossal hit movie Frozen closes Act I.  Memorably staged and sung by Cassie Levy (Les Miserables, Wicked, Ghost) as Elsa, the moment is hugely successful.  The audience comes alive and the enormous expectations are fulfilled.  I did not see this movie so my review comes largely from a place of fresh discovery or new fallen snow.  Overall, I’d say Frozen was just ok.

This musical adaptation of Hans Christian Andersen’s fairy tale The Snow Queen has enjoyable and fun stretches.  Both of the non-human animated characters Sven (the reindeer) and Olaf (the snowman) are cleverly rendered and performed.  The young men in the center of the story are nicely played by Jelani Alladin (Kristoff) and John Riddle (Hans).  Both developed great chemistry with the other sister Anna, who despite being less magical has the far more interesting storyline.  In the performance I saw, understudy Aisha Jackson was confident, funny and heartwarming as sister Anna.  “Love Is an Open Door,” the duet sung by Hans and Anna is a high point.  

Some of the effects that turn our Norwegian town of Arendelle into a frozen winter are quite cool.  Given the visual competition this year on Broadway, notably from the watery wonderland that is SpongeBob SquarePants and the magical wizardry of Harry Potter and the Cursed Child, the scenic design and projections of Frozen suffer a bit by comparison.  There are certainly good moments executed.  The whole experience though falls a touch flat as if  we are watching a really well-executed theme park experience.

Frozen’s creative team is normally top notch, from Director Michael Grandage to Choreographer Rob Ashford.  I just wasn’t sure if they committed to the important decision of which cartoon style they were showcasing.  The trolls from the movie here are outfitted as the humans from the movie Planet of the Apes with tails added on.  Their song “Fixer Upper” would not be out of place in a Lion King spinoff.  In that scene, I could not sense Norway anywhere.  The ensemble here sing and dance without representing much of anything.  They are boring save for the second act opening which was truly surprising and very witty.

All of that puts a lot of pressure on our sisters to carry this show.  Ms. Levy is a beautiful singer but Elsa’s brooding needed a bit more sparkle (and edge?) to help enhance what is oddly the far weaker side of this tale.  Her sister Anna’s more mortal adventure with her cartoonish companions was clearly the journey I wanted to be on.  One sister has the better adventure.  One sister has the magical visuals and gets to belt the big song.  Frozen never quite pulls everything together.  So I have to firmly land on “just ok.”

www.frozenthemusical.com