KINKY BOOTS

AL HIRSCHFELD THEATRE
BROADWAY 
MAY 4, 2013

SYNOPSIS: The most recent Tony Award winner for Best New Musical is currently playing to sold out audiences at the Al Hirschfeld Theatre. Based on the 2005 movie, Kinky Boots follows a young man named Charlie, who moves away from his father’s Northampton shoe factory to the bustling city of London in order to pursue a career in marketing with his fiance, Nicola. When his father dies unexpectedly, Charlie is forced to return to his home and he must decide what to do with his father’s failing shoe factory. Enter Lola, a sassy but classy drag queen, who inspires Charlie to start a new and innovative line of men’s footwear for drag queens, AKA kinky boots, and together, they work to save his father’s factory and the jobs of its workers. 

COMMENTS: I love it when a new show comes to Broadway and initially, there’s not much buzz about it. Then (seemingly overnight), the rush lines are a block long, performances are sold out, there are no ticket discounts, and the show becomes the Broadway musical to see. 

This seems to be the case for Kinky Boots, a new musical directed by Jerry Mitchell, with a book by Harvey Fierstein, and music by Cyndi Lauper. Big names in the world of theatre. One might expect some hype, but instead, all the hype surrounded the Olivier award winning musical, Matilda. For months and months, all I heard about was Matilda, who was sure to win the Tony Award for Best New Musical. What’s a kinky boot? 

Luckily, the world soon found out what a kinky boot is. Now the winner of six Tony Awards (with 13 nominations) including Best New Musical, this production is doing quite well over at the Al Hirschfeld Theatre and I suspect it will be running for a long time. 

I think the success of Kinky Boots is largely attributed to the fact that most everyone loves a story about equality and acceptance and can appreciate its heartwarming message. The story is injected with humor and great musical numbers so that it avoids becoming too predictable or bland. Speaking of the music, the score (composed by Tony winner Cyndi Lauper- the first female to win Best Score solo) is very strong. I have since purchased the cast recording, and it’s one of those CDs that I can listen to without skipping any songs. 

After being away from Broadway for many years, Billy Porter has finally found his perfect role. As drag queen Lola, Billy Porter is wise, vulnerable, sassy, and fierce. He truly steals the show. I think the group of actors who were Tony nominated for Best Lead Actor in a musical gave some of the strongest performances of the season and I myself was having difficulty deciding who to root for. When all is said and done, Billy deserved to win. 

Not that fellow nominee Stark Sands wasn’t great in his role as Charlie. Billy Porter may have stolen the show, but Stark Sands was the glue that held the show together. He had great chemistry with the other actors on stage, especially Lauren, played by Tony award nominee Annaleigh Ashford. Annaleigh, as usual, nailed the comedic timing. She is truly one of Broadway’s “funny ladies”. I also loved the factory workers, who gave the impression of being one great big family on stage. 

I highly recommend Kinky Boots on Broadway. There’s something for everyone in this new musical. Check it out at the Al Hirschfeld Theatre! 

5 Great Things About Hands on a Hardbody

Broadway
Brooks Atkinson Theatre
3/2/13 matinee

Synopsis: Hands on a Hardbody is based on the 1997 documentary about a group of down-on-their-luck Texans who enter the ultimate competition of endurance. The contestant who is able to stay standing with his or her hand on a shiny, new Nissan truck for the longest amount of time will take that truck home! The musical introduces ten contestants with very different backgrounds and life experiences, some based on real-life contestants from the documentary and some fictional.  Each character reveals his or her story to the other contestants, and in doing so, embarks on a physical and spiritual journey. And while there is only one winner (no spoilers), every contestant takes something special away from the competition and becomes a stronger person for having participated in the contest. 

5 Great Things About Hands on a Hardbody

1.) The Timing. Everyone knows that timing is critical to the success of a Broadway musical. I would argue that Hands on a Hardbody has impeccable timing and this is why. This musical depicts the lives of ten very heterogenous and very real people. The ten actors on stage, who could easily be mistaken for members of the audience, appear no different than the people you might pass by on the street. There are no flashy costumes or lion puppets or flying witches or dancing ensembles. They are simply ten down-on-their-luck Texans, not unlike many real-life Americans who are currently struggling with economical and financial hardships and the effects of war. Given the current economic climate, I think this story could really strike a chord with people because the story is true to the times and the characters are real and relatable. 

2.) The Truck.  The truck (named Layla) is its own unique entity on the stage, a separate character and the star of the show. After all, everything- the story, the choreography, the music- revolves around the truck. Gliding gracefully across the stage, the truck is seamlessly incorporated into Sergio Trujillo’s clever, inventive choreography. To envision choreography in which each actor must keep one hand on the truck at all times is an impressive feat, and for that reason alone, this show is something to see. 

3.) An Original Concept. With all the shows on Broadway, why did I choose to spend my Saturday afternoon at this particular show? Because the concept of ten contestants who vie to be the last person with their hands on a hardbody is, well, unique, and elicits curiosity. The concept is not something you see every day on Broadway and what theatre fan doesn’t crave subject matters that are new and fresh? And I promise you, this original concept does not disappoint. 

4.) The Characters. Hands on a Hardbody portrays ten very unique characters, some of whom are quite endearing, while others are a bit eccentric. Listening to the dialogue between these characters and watching them interact with each other on stage can be quite hilarious to say the least. I still crack up when I think of Janis’ husband sitting on the sidelines wearing a cardboard sign-hat and sipping a “Big Gulp”, while cheering on his wife. Anyway, these characters are sure to give you lots of “laugh out loud” moments. 

5.) The Music. Hands on a Hardbody offers a solid score by Trey Anastasio and Amanda Green. The score primarily has a country and rock “feel” to it with some powerful ballads and an outstanding gospel number performed by Keala Settle. And as I stated earlier, the integration of the truck into the music and choreography is most impressive and enjoyable to watch. 

UPCOMING BROADWAY MUSICALS

SPRING, 2013

CINDERELLA
Preview: 1/25/2013
Opens: 3/3/2013
Theatre: Broadway
Cast: Laura Osnes, Santino Fontana, Victoria Clart, Harriet Harris, Marla Mindelle, Greg Hildreth, Peter Bartlett
Description: The classic fairy tale is making its Broadway debut! Under the direction of Mark Brokaw, this beloved Rodgers and Hammerstein musical has been re-imagined by book-writer Douglas Carter Beane. 

HANDS ON A HARDBODY
Preview: 2/23/2013
Opens: 3/21/2013
Theatre: Brooks Atkinson
Cast: Keith Carradine, Hunter Foster, Mary Gordon Murray, Jay Armstrong Johnson, David Larsen, Allison Case
Description: Based on the 1997 documentary, this show tells the story of ten Texans who are competing for a brand new hardbody truck. The contestant who keeps his or her hand on the truck the longest wins the prize and a chance at living the American Dream. 

MATILDA
Preview: 3/4/2013
Opens: 4/11/2013
Theatre: Shubert
Cast: Bailey Ryon, Milly Shapiro, Sophia Gennusa, Oona Laurence, Bertie Carvel, Lauren Ward, Gabriel Ebert, Lesli Margherita
Description: Based on the novel by Roald Dahl and winner of seven Olivier Awards, Matilda is a perceptive, but unfortunate young girl who is mistreated by her parents and the headmaster at her boarding school, but she possesses very special powers... 

KINKY BOOTS
Preview: 3/5/2013
Opens: 4/4/2013
Theatre: Al Hirschfeld
Cast: Stark Sands, Billy Porter, Annaleigh Ashford, Celina Carvajal
Description: Kinky Boots boasts music and lyrics by Cyndi Lauper, book by Harvey Fierstein, and direction/choreography by Jerry Mitchell. Based on a British film of the same name, Charlie Price saves his father’s shoe factory with the help of a drag queen named Lola and some kinky boots. 

MOTOWN
Preview: 3/11/2013
Opens: 4/14/2013
Theatre: Lunt-Fontanne
Cast: Brandon Victor Dixon, Valisia LeKae, Charl Brown, Bryan Terrell Clark
Description: Motown tells the story of music producer Berry Gordy as he discovers the talents of Diana Ross, Michael Jackson, Smokey Robinson, Marvin Gaye, and Stevie Wonder. 

PIPPIN
Preview: 3/23/2013
Opens: 4/25/2013
Theatre: The Music Box
Cast: Patina Miller, Matthew James Thomas, Andrea Martin, Charlotte d’Amboise, Terrence Mann, Rachel Bay Jones
Description: Hailing straight from the American Repertory Theatre in Cambridge, this is the very first Broadway revival of Stephen Schwartz’s musical. A young man named Pippin is on a journey to find meaning his life, and ultimately, he must choose between the ordinary life and a risky chance at greatness. This production boasts circus choreography by Gypsy Snider and is directed by Diane Paulus. 

JEKYLL AND HYDE



Preview: 4/5/2013
Opens: 4/18/2013
Theatre: Marquis
Cast: Constantine Maroulis, Deborah Cox, Teal Wicks
Description: This production will end its national tour with a limited engagement on Broadway. In an effort to cure his father’s mental illness, Dr. Henry Jekyll conducts a controversial experiment on himself, unleashing the evil alternate personality, Mr. Hyde. 

Jekyll & Hyde

National Tour

Providence Performing Arts Center

1/1/13

Last Tuesday evening, I saw the opening performance of Jekyll & Hyde at the Providence Performing Arts Center. The production is currently on a 25-city national tour that will conclude with a Broadway revival at the Richard Rodgers Theatre in April. Based on the novella, Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, the original production ran on Broadway from 1997 to 2001. Music was written by Frank Wildhorn, lyrics by Wildhorn, Steve Cuden, and Leslie Bricusse, and book by Bricusse. 

Synopsis: Jekyll & Hyde is the story of the brilliant, but obsessive, Dr. Henry Jekyll, who longs to understand why man is both good and evil in order to help his institutionalized father. He proposes to test his theory on a human subject, but to Jekyll’s dismay, his proposal is rejected by the Board of Governors and he is called a “madman”. With the faith and support of his fiance, Emma Carew, Jekyll decides to conduct his experiment on himself. Injecting himself with a potion, he is taken over by his evil personality, a character called Edward Hyde, who goes on a malicious killing spree. And so begins the struggle between the two personalities, or rather, the struggle between good and evil. In the end, Jekyll finally realizes that there is no way to control Hyde, and the only way to prevent further harm is to kill himself. 

Comments: The role of Jekyll/Hyde was played by Constantine Maroulis. Maroulis proves that his talents go far beyond the world of “American Idol”, if he hadn’t already proven that during his Tony-nominated performance in Rock of Ages. He has a soaring tenor voice that is well-suited for this pop-rock score. He alternates from the thoughtful, reserved Jekyll to the vile, maleficent Hyde with ease and clarity. He is very well-cast in this role. 

As Lucy, Deborah Cox is given some of the best songs in Wildhorn’s score; “Bring on the Men”, “Sympathy, Tenderness”, “Someone Like You”, and “In His Eyes”, a duet with Emma, and I thought she did these songs justice. She has a strong belt and her voice has a modern sound rather than the traditional Broadway belt, but this seemed to work for the role. Her singing was one of the most enjoyable things about the show. Her acting was solid and I really enjoyed her scenes with Jekyll. 

Teal Wicks played Emma Carew, and she was outstanding. On Broadway, she was most recently seen in Wicked as Elphaba, and it was delightful to see her portray another strong, yet completely different type of character. Her singing voice is beautiful, as she alternates between belt and soprano. “In His Eyes”, a duet between Emma and Lucy, is one of the highlights of the show.  

I thought that Frank Wildhorn’s score was very good with several memorable songs. The score has an early 90’s, pop-rock feel to it, which was amplified by Deborah Cox’s modern R&B voice. Constantine sang the heck out of “This is the Moment”, which was a huge audience-pleaser! 

My only complaint is that I couldn’t understand most of Constantine’s lyrics, but I think this is related to poor acoustics at PPAC and not his performance. 

I also have to mention the awesome projections of Hyde lurking on the stage during intermission.  Very spooky. 

Finally, the show is thought-provoking, and you may find yourself thinking about good and evil in humanity just like Jekyll. Just don’t try mixing up any potions or you might end up like him! (Just kidding)

GHOST

Broadway, Lunt-Fontanne Theatre

May 18, 2012

Synopsis: Based on the 1990 movie, Ghost is the story of Sam and Molly, two star-crossed lovers who are mugged one night, leaving Sam murdered and caught between this world and the next. When he realizes that Molly is in danger, he enlists the help of the very unwilling Oda Mae Brown, a psychic of questionable abilities, to communicate with Molly. 

Sidenote: I have never seen the movie, Ghost. 

Comments: As the overture begins, the New York skyline is projected onto a large screen on the stage and the audience has the “3-Dimensional” experience of “flying” over NYC. Immediately, the audience feels as though they are about to witness something out-of-this-world. It’s magical.

I loved Ghost because of its relatability. But what could be relatable about a ghost caught between two worlds?? Well, one special thing about Ghost is that it’s a drama, a comedy, a romance, and a mystery- there is something in it for everyone to enjoy. The story takes the audience on an emotional journey as they laugh, smile, and cry over the course of two and a half hours. As most of us have lost a loved one suddenly, the audience undoubtedly identifies with Molly’s grief and sheds tears for her loss. Not all musical theatre characters are able to sustain this kind of connection with the audience. Lastly, Ghost gives us the universal messages of hope, living each day to the fullest, and doing the right thing, messages that we all need to hear from time to time. 

The heart of the show lies with Caissie Levy and Richard Fleeshman, who are reprising their roles from the West End production of Ghost. As Sam and Molly, the two actors have wonderful (emotional and romantic) chemistry together. I loved Caissie Levy as Molly. She has a beautiful, crystal-clear voice and her performance was very authentic and heartfelt. Aside from being easy on the eyes, Richard Fleeshman is endearing as Molly’s ill-fated boyfriend, Sam, and he too has a wonderful voice. 

The comedic relief of the show is provided by Tony nominee Da’Vine Joy Randolph as Oda Mae Brown. After seeing her performance, I now understand the Tony nomination!  She was hysterical.  Let me put it this way- when she is on stage, there is very little time when the audience is NOT laughing.  

Three days after I saw the show, I bought the cast recording.  With music and lyrics written by Dave Stewart and Glen Ballard, the score captures the emotional gravity of the story while also lightening the burden with more upbeat, comical songs. 

Ghost received Tony nominations for Best Scenic Design and Best Lighting Design, which are well-deserved. The special effects and illusions were just amazing to see live on stage: objects moving in mid air, “ghosts” walking through doors, and the instant, seamless separation of spirit and body into two entities. The set gives the impression of being on another plane. The sets, lighting, and illusions were just magical.  This is not something that you will see on Broadway every day. 

The Verdict: I strongly recommend that everyone go see Ghost on Broadway. 

Buy the cast recording. 

Bring It On: The Musical

National Tour

Providence Performing Arts Center

April 24, 2012

Background: Rounding up the season at the Providence Performing Arts Center is Bring It On: The Musical. Likely viewed as the underdog in a season that included Les Miserables, Mary Poppins, and The Addams Family, there were many preconceptions about the show that bypassed Broadway to become a national tour. Viewers have termed the show “predictable”, “cheesy”, “for teeny-boppers”, and “wasted talent”, despite a creative team that boasts credits which include the Tony award winning musical, In the Heights, and the Tony award winning and Pulitzer prize winning musical, Next to Normal. 

Synopsis: Campbell, a popular cheerleader, is about to start her senior year of high school, and as captain of her cheerleading squad, she dreams of taking the team to “Nationals”.  Her plans are destroyed when a seemingly sweet sophomore cheerleader named Eva overtakes the squad by having Campbell transferred to Jackson High School which, to Campbell’s dismay, does not have a cheerleading squad. At the multicultural Jackson High, Campbell finds herself in the minority for the first time, but sets out to start a new cheerleading squad and fulfill her dream of going to nationals. 

Comments: If you are planning to see Bring It On, I would recommend forgetting what you’ve heard or what you think you know about the show, and enter the theatre with a clean slate.  Bring It On was not at all what I expected. The rap-infused, R&B score screams Lin Manuel Miranda- this is not a bad thing- and leaves you humming some of the more memorable melodies as you leave the theatre. The choreography included three extensive cheer routines that were quite impressive and obviously very different from what you typically see in the theatre. Seeing the actors perform flips in mid-air does put you at the edge of your seat. I enjoyed the choreography the most. The story-line was predictable, but embellished with enjoyable songs and dance/cheer numbers.  What I liked about the story-line is that it didn’t copy the movies’. It was a new story that preserved the same themes as in the movies: high school rivalry, interracial friction, and teamwork to name a few. 

Taylor Louderman and Adrienne Warren played rivals Campbell and Danielle respectively and I thought they had great chemistry together.  I especially liked Adrienne Warren’s voice and I immediately thought that she would make a great Felicia in Memphis!  Ryann Redmond as Bridget, the unpopular, dorky, perpetual school mascot turned cheerleader, probably steals the show.  She nailed all of her lines and had the audience cracking up and rooting for her character. I really enjoyed her performance of “Ain’t No Thing” in particular. Kate Rockwell and Janet Krupin as Skylar and Kylar, Campbell’s shallow cheerleading friends, were also very funny. Elle McLemore as Eva played evil very well. Another strong voice was that of Jason Gotay who played Randall. 

The Verdict: while Bring It On isn’t likely to win any Tony Awards, it is a fun night at the theatre. If you want to see some great cheerleading stunts, listen to some catchy music by the very talented Lin Manuel Miranda and Tom Kitt, and have some laughs, check out Bring It On at PPAC through 4/28/12!  Or check out the recently released music sampler which contains three songs from the show- "It's All Happening", "Ain't No Thing", and "Enjoy the Trip". 

Chicago

Broadway, Ambassador Theatre

March 24, 2012, matinee performance

Background: I don’t know why it has taken me so long to see the 1996 Broadway revival of Chicago! It’s only been running for 16 years! Having seen and enjoyed the movie version (and knowing that the live show is almost always better than the movie), I have been meaning to see Chicago on Broadway for some time. My opportunity came this past December when my father asked for Chicago tickets for Christmas.  And so a father-daughter trip to NYC was planned for March 24th to see Chicago on Broadway.  

Synopsis: Chicago, the 4th longest running Broadway musical, chronicles the intertwined stories of Roxie Hart, an adulterous murderess, and Velma Kelly, a vaudeville performer turned murderess, as they await trial on death row. Both women become instant celebrities in the media due to their “crimes of passion”, and set out to use this newfound celebrity to their advantage. Set in 1920‘s Chicago, the show pokes fun at a corrupt criminal justice system that glamorizes murder and crime.  

Comments: After finally seeing the Broadway production of Chicago, I now understand why it’s the longest running Broadway revival! As the orchestra begins the familiar first notes of the opening number, “All That Jazz”,  the audience is immediately transported to 1920’s Chicago where crime, passion, and corruption abound.  The show is a triple threat in itself with great vaudeville music by Kander and Ebb, smart, sexy choreography, and a clever, entertaining storyline!  

While the entire cast was excellent, Amra-Faye Wright as Velma and Bianca Marroquin as Roxie gave standout performances and had great chemistry together as the two murderesses vying for the spotlight.  I remember not liking the character of Roxie when I saw the movie version a few years ago, but Bianca Marroquin’s portrayal of Roxie is actually quite charming, and I couldn’t dislike the character this time!  She did a lot of little things to make the character more funny- mannerisms, accents, facial expressions, etc. and brought out the more childish side of the character. I thought she was a great actress and I would see her again in any show. 

I think everyone who sees Chicago looks forward to Mama Morton’s number, “When You’re Good To Mama” and Carol Woods did not disappoint.  She can really SING. All I can say is WOW.  Another great performance was Raymond Bokhour as Amos Hart. His performance of “Mister Cellophane” was heartbreaking. Poor Amos. 

I loved that the orchestra was on the stage and I thought the conductor’s involvement in the storyline was creative as well.  

Favorite numbers included: “All That Jazz” (it pulls you right into the story and sets the mood for the show), “Cell Block Tango” (very funny and very entertaining), “When You’re Good To Mama” (as already stated, Carol Woods can sing), “We Both Reached for the Gun” (love the “puppet”), “Roxie” (especially her long monologue leading up to the song), and “Mister Cellophane” (again, poor Amos). 

The Verdict (no pun intended): If you’re in NYC and can’t decide which show to see, Chicago is a sure thing. Check out Chicago at the Ambassador Theatre!  

The Addams Family Tour

March 20,2012

Providence Performing Arts Center

The Addams Family tour has arrived at the Providence Performing Arts Center now through Sunday, March 25th!  

The Broadway production of The Addams Family (starring Nathan Lane and Bebe Neuwirth) ran for almost two years, closing on December 31, 2011 after a successful run.  Though the show received mostly negative reviews, only two Tony nominations, and did not even perform at the Tony’s, it was a fan favorite.  The touring production has been revamped with new songs and new story-lines... and after seeing the original version on Broadway in 2010 and now the new version, I am confident in stating that the show has been changed for the better.  

Let me start by saying that the Broadway production of The Addams Family was not nearly as bad as the reviews portrayed it.  If I remember correctly, Ben Brantley of the NYTimes termed it “ghastly”. There were parts of the show that I remember thinking were corny or shallow or a little far-fetched, but it was funny and entertaining overall.  With that said, the revised production is far better! 

The story-line is more cohesive and easy to follow. The changes to the story-line make for a better plot. For example, Morticia does not know of Wednesday’s engagement in the revised production, which causes tension between her and Gomez.  In the original Broadway production, Morticia’s story-line seemed to revolve around her obsession with getting older. One would expect a “juicier” plot and more character development for the female lead of a musical. I’m also very glad they got rid of the pet squid. I was never a fan of the pet squid that kidnaps Mal Beineke. One change I wish they had made was giving Grandma more scenes... or even better, a song. A Grandma song would have a lot of comedic potential. 

The highlight of the show was the performance of Douglas Sills as Gomez. He really nailed it with great comedic timing and stage presence. Sara Gettelfinger was good as the dark and dry Morticia. Cortney Wolfson as Wednesday sings two of my favorite songs in the show- “Pulled” and “Crazier Than You”. She had a great voice. Speaking of good voices, Patrick D. Kennedy as Pugsley was also vocally impressive. Blake Hammond as Uncle Fester was charming! The entire cast was solid. The sets and costumes were reminiscent of the comic strip origin of The Addams Family. The score offers many genres of music from pop to Spanish to the traditional showtune.  There’s something in it for everyone and it’s definitely appropriate for the school-age child. 

The Verdict: Go see The Addams Family at PPAC if you want to see something funny and entertaining for all age groups. 

Mary Poppins

U.S. Tour

February 14, 2012

Providence Performing Arts Center

Who doesn’t love the Disney movie classic, Mary Poppins?  As children, we all dreamed of jumping into chalk drawings, having tea parties on the ceiling, and dancing on the rooftops of London with the practically perfect nanny.  Well, I did anyway!  

Almost fifty years later, the beloved story of Mary Poppins has been made into a highly successful Broadway musical, first opening on Broadway in 2006. It has been so popular with audiences that it is now touring the United States, most recently visiting the Providence Performing Arts Center (PPAC) on February 8th through February 19th. 

Mary Poppins, the musical, is mostly true to the movie with only a few added characters and several new songs including “Anything Can Happen” and “Practically Perfect”. Of course, the underlying themes of love, family, imagination, gratitude, and benevolence prevail in the musical. This show is abundant with special effects, which are not limited to Mary Poppins flying across the stage, Bert walking on the ceiling, and more- much to a child’s delight! The choreography was flawless; most impressive were the energetic tap numbers performed to “Step in Time” and “Supercalifragilisticexpialidocious”. I hope I spelled that correctly. 

Mary Poppins employs a top notch, first-rate cast. Rachel Wallace, who played the title character, was excellent as the practically perfect nanny. Her singing was “pristine”, and (forgive me for the repetitive use of this phrase) “practically perfect”.  I particularly enjoyed “Spoonful of Sugar” and the very poignant, “Feed the Birds”, which I feel really captures the essence of the story. Speaking of “Feed the Birds” and strong performances, I was blown away by the performance of Q. Smith who portrayed both the Bird Woman and Miss Andrew, the dark nanny who replaces Mary Poppins temporarily in Act II. After a beautifully rich rendition of “Feed the Birds” in Act I, she blew the audience away with her belting skills during her performance of “Brimstone and Treacle”. Mary Poppins and Miss Andrew may be rivals, but they both stole the show.  

I admit that I missed Mrs. Banks’ song, “Sister Suffragette”, but it was replaced by a pretty song called, “Being Mrs. Banks” that stayed true to the theme of autonomy and freedom for women. 

The Verdict:

Overall, Mary Poppins is a triple threat in itself, with superb singing, dancing, and acting. 

Check out Mary Poppins at PPAC before February 19th.

Follies

Broadway, Marquis Theatre

9/24/11 matinee performance

12/17/11 evening performance

Background: When I first heard about Stephen Sondheim’s Follies opening at the Kennedy Center last summer, I seriously considered making a trip to our nation’s capital to see it for one reason: Bernadette Peters. I’ve been a huge fan ever since I saw her as Desiree Armfeldt in last year’s revival of A Little Night Music. She is an exceptional performer. Unfortunately, I never got to D.C. last summer and so I was thrilled when it was announced that Follies was transferring to Broadway this fall... and it definitely met my expectations. Follies has everything you could possible want in a musical-- energetic dance numbers, exquisite costumes, stellar acting, a haunting story, and beautiful music, including the classics Broadway Baby, Losing My Mind, I’m Still Here, and Could I Leave You. 

Quick synopsis: Follies is the story of two discontented couples: Phyllis and Ben Stone played by Jan Maxwell and Ron Raines and Sally and Buddy Plummer played by Bernadette Peters and Danny Burstein. Thirty years ago, Phyllis and Sally, both Follies girls, were roommates, close friends, and dating Ben and Buddy respectively.  Now married, A Follies reunion brings these two couples together once again and issues of the past resurface. It is revealed that Sally is still in love with Ben after thirty years. Follies depicts each character’s emotional anguish; Sally’s breakdown in response to Ben’s unrequited love; Phyllis’ resentment of Ben’s apathy; Ben’s unhappiness with himself; and Buddy’s anger and desperation to keep Sally. Follies is basically an explosion of thirty years of suppressed emotions... and some scenes are quite explosive.  

Commentary: The best part of Follies was each of the four main characters, who were perfectly cast. 

Jan Maxwell as Phyllis Rogers Stone: Let’s start with Jan Maxwell, who stole the show. I admit that I saw Follies for the first time for Bernadette Peters, but I returned for the second time to see Jan Maxwell again. When she wasn’t on stage, I found myself wishing that she was. She brings wit, sarcasm, intelligence, vulnerability, and sass to the character of Phyllis and has mastered comic timing. i.e. “young man, you’re getting me all wet.” (go see Follies and you’ll understand). Her performance is somewhat contradictory in itself because she has an emotionally “heavy” role, yet part of the character’s charm is her sense of humor and sarcasm... but she made that balance work wonderfully. I loved the sarcastic and emotionally-charged Could I Leave You and her Follies number, The Story of Lucy and Jessie. For someone who says she is not a dancer, Jan Maxwell can dance pretty darn well. I can’t wait to see what she does next. She was just amazing. 

Bernadette Peters as Sally Durant Plummer: Bernadette Peters gave an equally wonderful performance, although I would not say that she “stole the show”, maybe because her character was not as likable as Phyllis. Even with that said, she has once again proven why her career has successfully spanned six decades. Bernadette Peters can sing and dance, but above all else, she can act. And more importantly, she acts as she sings and is able to effectively convey her emotions through her singing voice. When I saw her perform Send in the Clowns in A Little Night Music, I remember thinking, ‘now I know what that song means’. Similarly, her performance of Losing My Mind in Follies was equally as beautiful and emotionally raw. And while Bernadette Peters may not be the expected actress to play the “crazy”, mousy Sally, she is entirely believable. 

**I hope Jan Maxwell and Bernadette Peters both get Tony nods this year. 

Danny Burstein as Buddy Plummer and Ron Raines as Ben Stone gave very strong performances and were very well-cast. It was also nice to see British theatre legend Elaine Paige as Carlotta. Other cast members that stood out were: Terri White as Stella Deems (the Mirror number was amazing), and Mary Beth Peil as Solange (does anyone remember her as Grams on Dawson’s Creek?). 

As I was leaving the Marquis Theatre after the show on 12/17/11, I overheard an audience member saying that he didn’t like the ending because it had no resolution. While I don’t want to spoil the ending for anyone who is planning on seeing the show before it closes, I will say that Follies does not end the way most people want or expect it to. However, I did think that the ending was realistic and true to real-life relationships... and it leaves room for the imagination. I think there’s something to be said for stories that negate the traditional “happy ending” and end on a realistic, more thought-provoking note. For example, Next to Normal. Everyone wants Diana’s illness to be resolved, but in real life, there is no cure for bipolar disorder. If Diana was a real person, her life would always be an uphill battle. The musical would have lost its poignancy if it had ended with a true resolution. The same can be said for Follies. I think the ending is fine the way it is (but I didn’t tell the man at the theatre that of course). 

The Verdict:

**Go see Follies before it closes on 1/22/12 or catch it in Los Angeles this spring. You will not be sorry! P.S. Bernadette Peters will not be continuing with the L.A. production! 

**Buy the cast recording! Not only does it include all of the songs, it also includes several tracks of dialogue. Personal Favorites: Losing My Mind, The Story of Lucy and Jessie, Too Many Mornings, In Buddy’s Eyes, Could I Leave You, Live, Laugh, Love, and Broadway Baby.