My Top Ten Favorite Performances of 2012

Here is a list of ten favorite and memorable performances that I attended during 2012.

1.) Carolee Carmello as Aimee Semple McPherson in Scandalous on Broadway. A powerhouse performance. Read more about her performance here. 

2.) The National Touring company of Memphis led by Bryan Fenkart and Felicia Boswell. Who would have thought that two actors with talents rivaling that of original Broadway performers, Chad Kimball and Montego Glover, even existed? The best touring production I've seen in a long time. Read more here. 

3.) Christina DeCicco (Eva alternate) in Evita on Broadway. I loved the entire production of Evita, but I especially loved Christina's portrayal of the mysterious and contradictory first lady of Argentina. I will be sad to see this show exit in 2013. 

4.) Rob McClure as Charlie Chaplin in Chaplin on Broadway.  Mastering Chaplin's physical comedy, his performance was perfection and worthy of a Tony nomination. Read more about his performance here. 

5.) The cast of Once, 2012 Tony Award winner for best new musical. With honest, emotionally-raw performances by Cristin Milioti and Steve Kazee, Once is unique and refreshing. 

6.) The four talented cast members of Broadway's Who's Afraid of Virginia Woolf; Amy Morton, Tracy Letts, Carrie Coon, Madison Dirks. This production left me amazed and speechless. 

7.) Tracie Bennett as Judy Garland in End of the Rainbow on Broadway. An impeccable and powerful performance. 

8.) The cast of Peter and the Starcatcher on Broadway. An exercise of creativity and imagination. 

9.) The dancing newsboys in Newsies on Broadway. Never have I experienced such impeccable and exhilarating choreography! Bravo, boys! 

10.) For favorite "funny" performances, I can't decide between Da'Vine Joy Randolph as Oda Mae Brown in Ghost and Ari Graynor as Peeps in The Performers. Both stole the show with impeccable comedic timing.

Now tell me about YOUR favorite performances of 2012!  

Scandalous

Broadway

Neil Simon Theatre

December 9, 2012

Last Sunday, I attended the final Broadway performance of the new musical, Scandalous, at the Neil Simon Theatre. Based on the life of evangelist Aimee Semple McPherson in the early 1900’s, Scandalous chronicles her young life on a farm in Canada, her traveling ministry and subsequent rise to fame, her contradictory personal life, and mysterious kidnapping trial. Music was composed by David Pomeranz and David Friedman with book and lyrics by Kathie Lee Gifford. Unfortunately, McPherson’s story did not captivate the interest of New York theatre-goers. After receiving lukewarm to negative reviews, Scandalous closed on December 9th after only 31 preview performances and 29 regular performances. 

So, why am I writing about a show that has closed? Because I liked Scandalous, and I’m very sad for its talented, newly unemployed cast, as well as the audiences that will never have the opportunity to see it. 

Comments: Aimee Semple McPherson was played by Broadway veteran, Carolee Carmello, and to say that she conquered this mammoth role would be an understatement. Her commanding stage presence and her powerful singing voice resounded throughout the Neil Simon Theatre. The experience of listening to her sing this role is one that I will not forget. She gave an emotionally-charged, charismatic, Tony Award-worthy performance and seamlessly carried the entire show. Bravo. And as a sidenote, I’m glad they didn’t cast a less talented movie star to drive ticket sales. Carolee Carmello was perfectly cast. 

The supporting cast was also well-cast. Aimee’s parents were played by George Hearn and Candy Buckley (George Hearn also played a preacher who challenges Aimee’s ministry). Both gave very solid performances, and unless you referred to the playbill before the performance, you would not realize that James Kennedy and Brother Bob are both played by George Hearn. Candy Buckley nailed the dry, sarcastic humor and gave the audience quite a few laughs. Edward Watts played Aimee’s first and third husbands. I particularly enjoyed his solo (“Come Whatever May”) as Robert Semple in the first act. After Carolee, he was probably the most vocally “memorable”, at least for me. Andrew Samonsky played Aimee’s second husband and Kenneth Ormiston, one of Aimee’s lovers, and also gave a solid performance.  Finally, Roz Ryan portrayed Emma Jo Schaeffer, a brothel owner who encounters Aimee and discards her lifestyle to follow Aimee’s ministry. She provides most of the comedy in the show. The audience loved her and with good reason. What I really liked about her comedic performance was that it wasn’t completely over the top, which very easily could have been the case. I liked that her character did not function solely as the comedic relief, and that the writing allowed her to have some serious and subdued moments. Roz Ryan gave just the right balance of comedy and drama. 

I enjoyed most of the music and I disagree with the critics’ opinion that the songs were bland and unmemorable. I enjoyed all of Aimee’s songs, and of course, part of that is because Carolee Carmello is an extraordinary singer. However, many of these songs can stand on their own two feet, including, “Follow Me”, “For Such A Time As This”, “Come Whatever May”, “Stand Up” and “A Girl’s Gotta Do What A Girl’s Gotta Do”.  I have not heard anything about a cast recording. The book was very clear cut and did a good job of condensing Aimee’s real life into a 2 1/2 hour show. Told from her point of view, the writing was very sympathetic to the character and portrayed her as a good person with flaws (as opposed to a lying, manipulative, immoral woman hiding under the guise of a God-fearing preacher). 

So what went wrong? Why didn’t this show sell tickets? 

What I do know is that there was very negative buzz on the Internet since the day previews started. Much of the negativity surrounded Kathie Lee Gifford and her relentless efforts to move this show to Broadway. Hateful comments were written, denouncing her writing ability, and wishing her efforts to fail. Despite Kathie Lee’s ability to promote Scandalous on her show, I wonder if her association with the production turned some people away. That would be unfortunate. Furthermore, many theatre-goers who admitted to never seeing Scandalous were making speculative assumptions about the show online, perpetuating the negative buzz. But welcome to the world of social media. Though it’s frustrating for me (as someone who generally finds something enjoyable in every show I encounter), I can only try to use social media for good by continuing to keep my blog as positive as possible and writing about performances that entertain and inspire me! 

Another possible factor involves the number of “religious” shows on Broadway in the past year. The Book of Mormon. Godspell. Jesus Christ Superstar. Leap of Faith. Sister Act.  Scandalous is actually somewhat similar to Leap of Faith in that they both tell the story of a flawed preacher. Are Broadway audiences weary of religiously-themed productions?  If that’s the case, the demise of Scandalous could just be poor timing. Or perhaps, audiences simply wanted Aimee Semple McPherson to be portrayed as more scandalous. 

Memphis

National Tour Cast

Providence Performing Arts Center

December 4, 2012

The “fantastical” new musical, Memphis, arrived at the Providence Performing Arts Center on December 4th!  Memphis deservingly won the Tony Award for Best New Musical in 2010 and also earned Joe DiPietro and David Bryan of Bon Jovi a Tony Award for their impressive rock & roll score. 

Synopsis: Memphis tells the story of Huey Calhoun, the first white radio DJ to play black music in 1950’s Memphis, and the talented black nightclub singer, Felicia Farrell. Huey is drawn to “the music of [his] soul”, sung by Felicia at an underground African-American bar, owned by Felicia’s brother, Delray. A promise to get Felicia on the radio, smack dab in the middle of the radio dial, is the beginning of their love story, set against the raging prejudice of the South. After overcoming many obstacles, Huey finally brings Felicia’s voice to the radio, and the music is embraced by the young people of Memphis, but not without cost. Sorry, no spoilers. 

Comments: Memphis is the perfect compilation of all the elements of a successful Broadway show.  There is no weak link. Memphis boasts powerful vocals, impeccable choreography, smart comedy, rocking music, lovable characters, and an honest and heartwarming story, which culminates in a very satisfying evening of theatre.    

It is my belief that Huey Calhoun is one of the most beloved characters to ever grace a Broadway stage, and it requires a special actor to play the part. Bryan Fenkart is one such special actor.  As Huey, he nails the physical comedy and encompasses all that is unique, quirky, truthful, and endearing in this beloved character.  I saw Bryan Fenkart as Huey (u/s) on Broadway in 2010 and his performance has only improved, if that’s even possible. Bravo. Or should I say, HOCKADOO! 

No voice has ever filled the Providence Performing Arts Center like Felicia Boswell’s did on Tuesday night. She is a vocal powerhouse, who gives a fierce, superbly acted performance as nightclub singer, Felicia Farrell. Bravo. 

The supporting cast made the very most of their time in the spotlight. The character of Gator may be quiet, but Rhett George’s indelible cry for hope in the final Act I number, “Say A Prayer” is more than memorable. Likewise, as Mama, Julie Johnson’s performance of “Change Don’t Come Easy” was completely over the top and I loved every minute of it! This rousing number was a show highlight!  Will Mann’s Bobby gave the audience an unexpected treat with “Big Love”, and Horace V. Rogers brought down the house with the powerful, “She’s My Sister”. 

In my experience, a touring show sometimes loses something during the translation from Broadway to National Tour.  This is the first touring show I’ve seen in a long time that strengthened as a National Tour. The former Broadway and National Tour casts are so phenomenally talented in their own right, that they can both be enjoyed for what they bring to this spectacular show without comparisons. 

And if I haven’t persuaded you to see this show yet, let me mention Huey’s costumes.  Words cannot describe.  You’ll just have to go check them out yourself. Hockadoo.

The Verdict: A must-see. See it at PPAC before December 9th. Or catch it in Boston before December 23rd.  

Check out the Broadway cast's performance at the Tony Awards below. 

The Holidays in New York City- 2012

Here is a little video montage of NYC during this holiday season. Enjoy! 

20 Holiday Gift Ideas for the Broadway Lover

It's that time of year again! Having trouble coming up with the perfect gift idea for a die-hard Broadway fan?  Here are some ideas that I hope will be helpful to you! Happy Holidays!

1.) 2013 Playbill Wall Calendar 

Everyone needs a new calendar to start the new year! 

2.) The 2011-2012 Broadway Playbill Yearbook

Read about more than 70 Broadway musicals and plays from the 2011-2012 season and learn behind-the-scenes anecdotes from cast and crew members. 

3.) Be A Broadway Star Board Game
An interactive board game for Broadway lovers of all ages. Performing is required! 

4.) Playbill Binder

This is a must-have for any playbill-collecting theatre lover!
Can be found on playbillstore.com

5.) Broadway’s Carols for a Cure
Every year, the Broadway community comes together to create a Holiday Album to raise money for Broadway Cares/Equity Fights AIDS. What better way to get into the holiday spirit than with holiday music that goes toward a good cause? Check out this year's edition here!

6.) The Broadway Musicals Quiz Book

7.) Movie tickets to see Les Miserables on Christmas Day! Check out the movie trailer below! 

8.) Tickets to see Cinderella on Broadway, opening in previews on January 24, 2013. Check out their performance at the Macy's Thanksgiving Day Parade! 

9.) Phantom of the Opera 25th Anniversary Celebration- at the Royal Albert Hall
This year, The Phantom of the Opera celebrated its 25th anniversary with this special performance at Royal Albert Hall!

10.) Memphis the Musical on DVD
Tony Award winning Memphis closed this past August after a very successful almost-three year run at the Shubert Theatre, but not before releasing this film of the Broadway production. For more info, click here. 

11.) “Show Biz, a novel”
An entertaining mystery novel set in the midst of Broadway scandal and told through the eyes of a young Broadway producer.  A must-read for the Broadway lover. 

12.) “Unnaturally Green”
A must-read for the Wicked fan! Written by former Elphaba stand-by, Felicia Ricci, this entertaining and hilarious memoir shares a behind-the-scenes look at what it is to be "green" in a show like Wicked. Read my review here! 

13.) The Broadway Cares Collection
If you want to buy a unique Broadway-themed gift while also donating to a great charity, you should check out the Broadway Cares Collection, which benefits Broadway Cares/Equity Fights AIDS. This Broadway-themed collection includes: holiday ornaments, tote bags, coffee mugs, shower curtains, T-shirts, snow globes, stationery, and many other unique items. Check it out here. 

14.) Green For Good Tote Bag 
Give the gift of being “green” with this Wicked-themed bag that may be used as an alternative to plastic shopping bags. 

15.) Smash, Season 1 on DVD
The new hit show, Smash, will release Season 1 on 1/8/13 (on Amazon). This might make a great belated holiday gift!

 

16.) Laura Osnes, “Dream A Little Dream, Live at the Cafe Carlyle”
This is one of my favorite solo albums released in 2012. Check out my review for more information! 

17.) The Book of Mormon Companion Book

To be released on 12/4/12. 

18.) Gift Certificate for a Broadway show
For more information, click here. 

19.) Over the Moon: The Broadway Lullaby Project
An ideal gift for a baby or young child, this is a collection of lullabies performed by various Broadway singers. 

20.) Once Sheet Music
For the musically-inclined Broadway lover, sheet music from the 2012 Tony Award winner, Once, may be a greatly appreciated gift. 

The Pros and Cons of “Tweet Seats”

Based on the experience of a one-time live tweeter

About a month ago, I was winding down from my work day when I received a text from a friend. She asked me if I would do a last minute favor and live tweet during the performance of Catch Me If You Can at the Providence Performing Arts Center (PPAC) that evening.  She was in charge of retaining ten “live tweeters” for this performance, but it seemed that theatre-goers were not interested in this new venture, and she had gotten zero responses.  Four hours before curtain, she was issuing a last-minute plea to her theatre-going friends via text messages.  

As a theatre-lover, I figured live tweeting would be an interesting experience, and so I agreed.  I picked up my complimentary ticket and was told to “keep my phone low”. I found my seat labeled as a “tweet seat” in the very last row of center orchestra. As other theatre patrons entered the theatre, many noticed the “tweet seat” signs posted in my row, and a few asked me what a “tweet seat” was.  I explained and they seemed disinterested. Two elderly ladies walked by and one said to the other, “Tweet seat? What the hell is that”? and proceeded to give me a dirty look before making her way down the aisle. Fabulous. 

The Cons of Live Tweeting

1.) It’s distracting to the tweeter and takes away from his or her theatre experience.  I don’t care if you can type 200 words per minute into your iPhone- the act of typing and tweeting takes your attention away from what’s happening on stage. Before you know it, you’ve missed a good joke or a critical moment in the story line that leaves you momentarily lost. And when you’re not tweeting, you’re thinking up your next tweet.  I saw Catch Me If You Can twice on Broadway and knew the story line very well, but I did not enjoy this performance because it was constantly interrupted by the need to tweet. Tweeting really does ruin the theatre experience for the tweeter. I guess I’d rather just sit back and enjoy the show. 

2.) Cell phone lights are difficult to hide. We were told to keep our cell phones low to avoid disturbing other theatre patrons. Some of the other tweeters dimmed their screens as well. Just because we were seated in the last row of the orchestra did not mean that there were no theatre patrons around us. There were people seated across the aisle directly to my left and I’m sure they could see the lights in their peripheral vision. I felt very badly for them. I also felt guilty because I usually take theatre etiquette pretty seriously. There’s nothing worse than the glare of a cell phone in a dark theatre (well, except for a cell phone going off or an unruly theatre patron...). Theaters will have to be creative and careful in the way that they seat tweeters in the future or paying customers will be complaining. (I can only speak for PPAC on this note; I do not know how other theaters seat their tweeters). 

3.) My followers were not engaged.  During this two and a half hour show, I tweeted about 42 times. My tweets were also posted to my (Broadway) blog’s Facebook page. A few followers commented on the posts, but I honestly did not feel that people were all that interested! This could be because a) I wasn’t tweeting in a way that interested people or b) I was tweeting about a show that is not currently running on Broadway and many of my followers are tied to NYC theatre. Who knows?! But live tweeting elicited very little interaction from my followers, which was disappointing for me. 

The Pros of Live Tweeting

1.) Supporters of “Tweet Seats” will argue that the theatre experience is “enhanced” by tweeting because you are given the opportunity to share and communicate your immediate reaction to followers. At the start of the show, I admit that even I felt the endorphin effect of live tweeting.  It’s kind of exciting and fun, despite the element of distraction. 

2.) Whether people want to admit it or not, live tweeting is a smart marketing move. Publicity is critical to the success of a show and producers need to be creative and keep up with the times to maintain theatre’s viability. This includes the acceptance of social networking as a necessary piece of marketing theatre.   

So where does this one-time live tweeter stand on the subject of “Tweet Seats”? 

-Pretty neutral and understanding of both sides. 

-Live tweeting is not for me (see my list of cons). 

-There are many theatre-lovers out there who WILL have “enhanced” theatre experiences in a “Tweet Seat”. 

-Theaters need to assure that etiquette is maintained by seating tweeters in a location where cell phone lights cannot be seen. The back of the theatre at PPAC doesn’t cut it. 

-I support anything that supports the success of theatre. 

The Mystery of Edwin Drood

Broadway

Studio 54

11/3/12 matinee

Background: The Mystery of Edwin Drood (the musical) is based on Charles Dickens’ final novel, which was unfinished at the time of his death in 1870. Ironically, his final novel was a murder mystery and the murderer had not yet been named by Dickens; hence, there was a lot of conjecture in the literary community as to whom Dickens meant the murderer to be. Translate an unfinished murder mystery to the Broadway stage and what do you get? A musical with many possible endings to be decided by the audience! What fun for both the audience and the actors, who might never have to perform the exact same show eight times per week. 

The Show: The Mystery of Edwin Drood is told as a play within a play or a story within a story. The actual mystery that is Charles Dickens’ book is the inner story with the outer story portraying a group of actors who are putting on a play called The Mystery of Edwin Drood for the present audience. This also allows the audience to be informed of the book’s background and Dickens’ unexpected death. 

John Jasper is secretly infatuated with his young, beautiful student, Rosa Bud, but his feelings are complicated by her betrothal to Jasper’s nephew, Edwin Drood.  Jasper undoubtedly harbors anger toward his orphan nephew, while Rosa is terrified of her music teacher and yearns to be done with him. Further complicating the plot, Reverend Crisparkle arrives with newly orphaned siblings, Neville and Helena Landless, and arranges for Helena to stay with Rosa at The Nun’s House, while Neville (who is known to have a dangerous past) will be Crisparkle’s apprentice. Neville meets Rosa and is immediately taken with her. At this point, Jasper commits several suspicious acts that suggest he has a sinister plan up his sleeve. Drood and Rosa cancel their engagement and join the other characters at Jasper’s home for Christmas dinner. The next day, Drood is discovered to be missing, the victim of foul play. 

Act II begins six months later with the introduction of Dick Datchery, a detective who is investigating the disappearance of Edwin Drood. His identity is unknown, but is likely one of the known characters in disguise. 

Then, the music stops short and..... “Ladies and Gentlemen, it was at this point in our story that Charles Dickens laid down his pen forever”... 

And the remainder of the story is decided by the audience. The audience votes on three points: the identity of the detective AKA Dick Datchery, the identity of the murderer, and the lovers. After the identities of the detective and murderer are determined, the actors return to the stage and act out the winning scenario. There must be seven or eight different endings (or more?). 

You may be wondering how this particular show ended. Our detective was the Deputy, the murderer was Rosa Bud, and our lovers were (siblings) Neville and Helena Landless. I do not want to divulge any more details about this particular ending, as I do not want to spoil it for future Drood audiences. Suffice it to say that the audience participation in the show was so much fun and the ending was surprising and satisfying. 

Comments: This was such a fun and engaging afternoon of theatre. I felt like I was reading an Agatha Christie novel while playing a game of Clue. Was it Mr. Jasper with the opium in the cemetery? Great fun. The greatest fun was, of course, the audience participation and the anticipation of “whodunit”. I felt that the vote was legitimate- not rigged. 

The cast of Drood is a very talented ensemble of actors. Each actor brought something quirky and mysterious to his or her character and appeared to be having a great time on stage. Between the Victorian sets and costumes and Studio 54‘s holiday decor, I really felt like I was transported to an English music hall in a different era.

Perhaps the most comedic part of the show was when Helena and Neville were voted to be “lovers” despite their characters being siblings! The ad-libbing of Andy Karl and Jessie Mueller had the audience in stitches, as they sang about incest.  I can’t remember the last time I laughed so hard in a theatre.  

I think Drood should have a lot of appeal to Broadway audiences and I would highly recommend it!

The Mystery of Edwin Drood opens on 11/13/12 and runs through 2/10/13 at Studio 54. 

The Performers

Broadway

Longacre Theatre

11/3/12

When I walked into the Longacre Theatre to catch last Saturday’s evening performance of The Performers, I was not sure what to expect of a play centered on the adult film industry (a politically correct way of saying porn). I was probably expecting something funny, light, raunchy, and not at all relatable, seeing that I’ve never been employed in the adult film industry myself. After walking around the desolate streets of NYC status post Hurricane Sandy, I wasn’t opposed to any of the above expectations as long as it provided me with a few laughs! What I found at the Longacre Theatre was more heartwarming, hilarious, and normal than I’d ever expected. Keep reading if you want to find out why....

Synopsis: In this romantic comedy, high school sweethearts Lee, a journalist, and Sara, a schoolteacher, have finally become engaged and decide to spend a night in Las Vegas for the Adult Film Awards so that Lee can interview his former high school classmate, Mandrew, an adult film star who has been nominated for several awards. Mandrew’s wife and fellow adult film star, Peeps, is dealing with her own insecurities after she learns she is pregnant. After seeing Mandrew and Peep’s seemingly racy and exciting lifestyle, Lee and Sarah begin to doubt their relationship and plans for the future, while Peeps questions her own relationship with Mandrew and wonders if conservative is the way to go. Enter Chuck Wood, a man with years of experience in the Adult Film business who accidentally becomes caught in the middle of these feuding couples, and ultimately helps them to resolve their issues. And they all live happily ever after (we hope). 

Comments: First and foremost, this show is hilariously funny. Unless you are extremely conservative, I can’t imagine someone not laughing steadily through the entire show. The surprise is the balance between humor and heart. The Adult Film Industry is merely a backdrop that is often forgotten as the story delves deeper into the relationships between the characters.The Performers isn’t really about porn- it’s about human relationships, love, and vulnerability. Don’t get me wrong. This is not a life-changing play, but something tells me that’s not what the audience is looking for at The Performers. The audience will get the laughs they want, and hopefully something a little more heartwarming than they were expecting! 

Besides having amazing abs, Cheyenne Jackson was charming and likable as Mandrew. He didn’t portray Mandrew as the stereotypical porn star, and brought out a more misunderstood side of the character. Ari Graynor stole the show as Peeps simply because of her impeccable comedic timing. Jenni Barber also provided many laughs as the more “stereotypical” porn star, Sundown LeMay. Alicia Silverstone and Daniel Breaker were good together as Sara and Lee and both played the “repressed” sides of the characters very well.  I particularly enjoyed Sara’s drunk scene with Henry Winkler, who impressed me with his ability to play a porn star at the age of 67.  Overall, the six characters had good chemistry and played off of one another very well.  

The Performers opens at the Longacre Theatre on November 14, 2012. Check it out if you want to see a hilariously heartwarming show. 

Catch Me If You Can

October 9, 2012

National Tour

Providence Performing Arts Center

Providence, RI

The National Tour of Catch Me If You Can has opened at the Providence Performing Arts Center!  Opening on Broadway in 2011, this charming new musical is based on the story of real-life con man, Frank Abagnale, Jr., who passed $2.5 million in forged checks while posing as a doctor, lawyer, and pilot all before he turned 21 years old. With a magnificent score by Marc Shaiman and Scott Wittman and an amusing and clever book by Terrence McNally, Catch Me If You Can is a surefire audience pleaser. 

Synopsis: Growing up, Frank Abagnale, Jr. has a seemingly perfect childhood, raised by two doting parents including a father who taught him the importance of outward appearances. At the age of sixteen, his parents divorce, and rather than choose between them, Frank escapes to New York City where he quickly learns the art of being an impostor (as well as how to pass bad checks). It isn’t long before FBI agent, Carl Hanratty is hot on his tail, which leads to a sometimes intense, sometimes hilarious cat and mouse chase, and ultimately, an unlikely friendship. 

Comments: The highlight of Catch Me If You Can is its upbeat, energetic, “big band” score, which is reminiscent of the 1960‘s Sinatra “era”, and this is followed closely by Jerry Mitchell’s impeccably choreographed dance numbers performed by a talented ensemble of dancers. The audience went wild for jazzy numbers such as “Doctor’s Orders”, “Live in Living Color”, and “Jet Set”. (It’s not surprising that Shaiman and Wittman were recruited for SMASH- this duo certainly knows how to create an audience-pleasing score!)

Recent college graduate Stephen Anthony is near perfectly cast as high school student turned con artist, Frank Abagnale, Jr. Not only does he possess boyish good looks and charm, he can also sing the heck out of the score in a performance that rivals Aaron Tveit’s (who originated the role on Broadway). Undoubtedly, he gave the stand out performance. I thought he had great chemistry with his stage father, played by Dominic Fortuna, and I particularly enjoyed their scenes together. 

As the gruff, but endearing FBI agent who relentlessly chases Frank halfway across the world, Merritt David Janes certainly nailed his highly anticipated dance number, “Don’t Break the Rules”, which was performed by original Broadway cast member, Norbert Leo Butz, at the 2011 Tony Awards.  He also sang several slow, bluesy numbers that I really enjoyed and gave both a comedic and dramatic performance. I expect that he will grow more into the role as time goes on, seeing that Providence is the first stop on the tour. 

As Frank’s sweet and innocent love interest Brenda Strong, Aubrey Mae Davis was very effective, and she gave a warm and mournful performance of a pretty 11 o’clock ballad called, “Fly, Fly Away”. 

The orchestra was effectively placed on the stage rather than in the pit, and much like the musical Chicago, the orchestra was part of the story line. There were large screens which projected various colors and shapes during the musical numbers. I don’t recall these screens in the Broadway production and I’m unsure if they are a new addition for the tour, but regardless, they were completely unnecessary and distracted the audience from the actors. 

The Verdict: Catch Me If You Can is one of my favorite musicals; it’s smart and comedic with great music and choreography, and I’m glad people around the United States have been given the chance to see it.