Tag: musical

Review: Shucked

On By dramaqueennycIn Broadway, musical, review, theatreLeave a comment

Stupidly clever, relentlessly hilarious. This is the kind of joyful “feel good” musical we need so sorely right now! Shucked follows Maizy (Caroline Innerbichler) and Beau (Andrew Durand), young lovebirds who live in the isolated rural Cobb County, a place whose main product is (you guessed it) corn. When the crop dries up, our heroes are forced to postpone their wedding. Maizy resolves to find a solution to the blight, and heads to (of all places) Tampa. In that bustling metropolis she meets shyster Gordy Jackson (John Behlmann), who claims he can solve the problem, but clearly has ulterior motives.

Innerbichler, Durand and Behlmann anchor the show with rock-sold performances, but the most dazzling moments come from supporting roles. Alex Newell plays whiskey distiller Lulu with lots of brass and bluster, and their roof-raising belting in “Independently Owned” truly stops the show, getting the song its own spontaneous standing ovation.

Above all it’s Kevin Cahoon as corn-fed philosopher Peanut. It’s a big help that super-witty bookwriter Robert Horn gives Peanut the most absurdly funny lines in the show, but it’s Cahoon’s crack timing that turns funny into uproarious. The primary goal of Shucked is pure fun; that’s not to say it doesn’t have earnest thoughts on its mind, but no comedy can really succeed with out some serious themes at their heart.

The unfailingly tuneful score by Clark and McAnally seamlessly blends country grit with Broadway splash. Choreographer Sarah O’Gleby works some real magic with things such as barrels, and of course ears of corn. Director Jack O’Brien pulls everything together with the sure hand of a veteran professional. Highly recommended.

For tickets, click here.

For more more about Jonathan Warman’s directing works, see jonathanwarman.wordpress.com.

Review: Bad Cinderella

On By dramaqueennycIn Broadway, musical, review, theatre1 Comment

CAMP AS CHRISTMAS!!! In particular, Carolee Carmello as the Wicked Stepmother plays it like the most over-the-top drag queen – such fun. And completely in tune with the joyously crazy tone of the show. The energy is high, the designs eye-poppingly colorful, the general feeling very gay (there’s even an ensemble number with shirtless hunks dancing like they are in a male strip club show!). And the score is peak Andrew Lloyd Webber – his scores can be hit or miss for me, and this is definitely in the hit category, to my mind his most tuneful this century. Sexy, silly, frolicsome, mischievous, just the kind of light entertainment we need in these dark days.

So why is this Cinderella “bad?” Mostly she is punk as fuck, and so self-possessed. The plot follows all the “beats” of the traditional Cinderella plot, but there is a twist every single time, some of them quite feminist and queer. Lindedy Genao in the title role is sassy as hell, and belts with the best to the back of the balcony. She may have too many ballads, but the powerful way she sings them makes it worth it.

Bad Cinderella is set in a fanciful version of belle epoque France that has elements as medieval as broadswords and as 21st Century as bikini waxes. The town in which Cinderella live is called Belleville, a town as obsessed with beauty as, say, Instagram or TikTok. Director Laurence Connor s things at a very lively clip, which just makes the camp even campier. Fun, fun, fun. Recommened.

For tickets, click here.

For more more about Jonathan Warman’s directing works, see jonathanwarman.wordpress.com.

The Village: A Disco Musical

On By dramaqueennycIn musical, Off-Off-Broadway, review, theatreLeave a comment

Extended through Saturday October 22, The Village is at its most charmingwhen writing love letters to disco. Nora Burns’s comedy is subtitled A Disco Musical, and while it’s not technically a musical (precious little live singing) the constant flow of recorded disco – and really good disco at that – is what really propels it.

Set in 1979 New York City, The Village centers around Trade (Antony Cherrie), a hustler living in the apartment of an older gentleman, George (Cluck Blasius). He brings home his latest trick, Steve (Ever Chavez) a charming NYU student – a cute “twink,” though at the time the word was “chicken” – and the story is nominally about them falling into bed and then love. But, as the title suggests, this is really more the story of a community, the vibrant gay scene of the time, set against the grit and glamour of the Manhattan of that era. One of the stronger elements is Robin Carrigan’s lively choreography, reflecting with verve and musicality the show’s disco soundtrack.

While Burns’s script is packed with her usual acidly sarcastic humor, the structure is a bit, well, lumpy. There’s a lot of “fourth wall breaking” and much of it is clever, but in the end there’s way too much of it. It’s as though every character in a Deadpool movie were talking to the camera most of the time. It can get a little wearying. Also, while the initial idea of creating an Our Town for 1970s NYC was an ingenious one, like many “inspired by” shows, The Village stumbles when it hews too closely to its model, and gets a real lift when it leans into being its own frisky self.

Mostly, though, The Village is a sexy, goofy lark, executed by an attractive, energetic, committed and talented ensemble cast. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.wordpress.com.

Review: Mr. Saturday Night

On By dramaqueennycIn Broadway, musical, review, theatreLeave a comment

This tribute to Catskills comedy – as told through the life story of Buddy Young Jr. who goes from Borscht Belt headliner to TV star to obscurity – is equal parts classic comic shtick (delivered by one of our greatest living comedians) and schmaltz (leavened with flashes of genuine emotion). Billy Crystal plays Young with his usual verve, adding a little soft shoe and expessive singing to his performing repetoire. It’s a real shame that Mr. Saturday Night closes on September 4, it’s a genuinely pleasurable and charming musical – whose main aim is to (in the words of Crystal’s first song) provide “A Little Joy” – and how often do we get one of those?

While much of the plot takes place in 1994, we get generous servings of Buddy’s Catskills act and TV sketches, taking place in the late ’40s and early ’50s, in which Crystal shines the brightest, being on his home ground of stand-up. As Buddy watches the 1994 Emmy Awards, he sees his own face in the “In Memoriam” section. The fact that he actually isn’t dead gets him a new flash of celebrity, including an appearance on Today, which catches the eye of a major talent agency.

This is the kind of relatively light-hearted musical where you root for the main character to earn redemption and win out. The way he gets there may be a touch contrived, but is satifying nonetheless. The score, lyrics by Amanda Green and music by Jason Robert Brown, is brisk, tuneful and jazzy. Recommended, get it while you can!

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.wordpress.com.

Review: Mark Nadler Hart’s Desire

On By dramaqueennycIn cabaret, musical, reviewLeave a comment

This ever-ambitious cabaret genius always seeks to challenge himself, and this time he has truly outdone himself. With Hart’s Desire, Mark Nadlercombines the words of playwright Moss Hart (from many sources) with lyrics by (unrelated) Lorenz Hart – which of course comes with music by Lorenz’s perrenial writing partner, composer Richard Rodgers. Both Harts were gay in a time when it was far less acceptable than today. Mark is no stranger to a gay theme, and has fashioned a gay musical romantic comedy that convicingly sounds like the year Nadler sets it in, 1943. You know, except for the gay thing.

Nadler presents Hart’s Desire as a backer’s audition – at the time, backer’s auditions were performed by the writers themselves, not actors. The musical is set at the opening of a Boston tryout for a play. Act I is before the opening, Act II after, and things do not seem to have gone well. With his usual exquisite taste, in addtion to Lorenz’s better known songs, Nadler uses obscure ones as well, such as the unfinished “Good Bad Woman” which Mark himself has completed. And of course he employs additional lyrics not included in the stage versions of Lorenz’s songs, especially for an extended version of “The Lady is a Tramp” as delivered by a brassy aging vaudvillian.

Mark “Mr. Showbiz” Nadler is at his most dazzling here, portraying eight characters without blurring the lines between them. He’s one of the greatest showmen of our time, singing, acting, tap-dancing madly, all the while playing a complex passage on the piano without even glancing at the keys. There are always many layers in a Mark Nadler show, ranging from the obvious to unspoken subtext, which gives an “oomph” far, far beyond your typical cabaret show, and that is true in spades in Hart’s Desire. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.wordpress.com.

Review: A Strange Loop

On By dramaqueennycIn Broadway, musical, review, theatreLeave a comment

The frankest description of gay sex I have ever seen on a Broadway stage, that’s for sure – especially in song called “Inwood Daddy” (you can see where that’s going) ! And a refreshingly frank look at the problems gay black men face. I mean right off the bat the lead character Usher describes himself as “a young overweight-to-obese homosexual and/or gay and/or queer, cisgender male, able-bodied university-and-graduate-school educated, musical-theater writing, Disney-ushering, broke-ass middle-class far-Left-leaning Black-identified-and-classified American descendant of slaves full of self-conscious femme energy…thinks he’s probably a vers bottom.”

A Strange Loop is in many ways an autobiographical show. Jaquel Spivey is so terrific as Usher that at least one audience member I taked to thought he actually was the author-composer of the show, one Michael R. Jackson, who won the 2020 Pulitzer Prize for this. It is very black and deeply queer, is artistically successful and tuneful and funny into the equation – so exciting.

His thoughts (and other people) are represented by a (excellent) six-person chorus. Usher is plauged by self-doubt. Primarily that he wants to authenticly represent himself in the musical he is writing, but worries that white audiences wont get his black experience, and black audiences won’t get his queer experience. He is also conflicted that he has an “Inner White Girl” which he cherishs but also disturbs him. He loves his parents and seeks their love – they do love him, but don’t really accept him. They are deeply religious, so they don’t tolerate his gay identity. Instead of the autobiographical show he is working on, they want him to create a “a nice, clean Tyler-Perry-like gospel play,” which drives Usher crazy.

Jackson is that rarest of musical theatre creatures, a composer-lyricist-bookwriter who is superb at all three. I can’t wait to see what he does next. Highly reccomended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.wordpress.com.

Review: Company

On By dramaqueennycIn Broadway, musical, review, theatreLeave a comment

Easily the best thing I’ve seen since live performance returned to New York, it’s no surprise that this is that good. First, it’s one of Stephen Sondheim’s very best musicals. Then it’s Marianne Elliott in the director’s chair, and she’s is probably the only stage director whose work manages to surprise me every 10 minutes. And then this cast! A troupe headlined by talents Katrina Lenk and Patti LuPone that includes exceptionally talented actors such as Claybourne Elder and Christopher Fitzgerald in ensemble roles? You just can’t go wrong.

It is so satisfying that this production of Company is as good in fact as it looks on paper. Elliott had the brilliant idea or changing the bachelor Bobby of the original production into bachelorette Bobbie. As well, she has set the production in the present day, not 1970. Both choices illuminate the musical in ways that are truly fresh.

The male Bobby was always a bit opaque, perhaps a little dull even. Bobbie on the other hand, has more interesting issues: does she want to give up her hard-fought freedom? How much does she really want to be a mother? (There’s even a whole “baby” dream ballet, truly haunting, almost a nightmare). The stakes are significantly higher, and Lenk brilliantly plays every moment.

Elliott’s staging is her usual neon-tinged phantasmagoria which suits this show to a T, giving the whole matter a “Bobbie in Wonderland” feel – as non-linear as the musical itself. As the gimlet-eyed alcoholic matron Joanne, Patti LuPone delivers her trademark razor-sharp timing to fantastic effect. Another brilliant change finds “Amy” changed to “Jamie” a gay man about to marry his long-time boyfriend. Matt Doyle is neurotic perfection in the role, delivering one of Sondheim’s most difficult songs “I’m Not Getting Married Today” with dazzling precision and virtuosity.

I don’t think I could recommend a show more highly than I recommend this one. Truly a must-see.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Christmas Spectacular Starring the Radio City Rockettes

On By dramaqueennycIn musical, Off-Broadway, review, theatreLeave a comment

This show first and foremost earns the right to be called spectacular, driven by the amazing unison dancing of the Rockettes themselves, but hugely abetted by Radio City’s stunning hydraulics system and dazzling projections by Obscura Digital and batwin + robin. It is also unapologetically schmaltzy and sentimental, but all that sweetness is cut by a strain of jazziness – both in the music and dancing – that runs throughout. The sheer virtuosity of all involved also elevates it above mere treacle.

Of course the Rockettes are the star of the show. The opening number “Santa’s Reindeer” totally whets the appetite for what follows. Highlights include a “Here Comes Santa Claus” number where Santas keep multiplying – I’m thinking the entire adult company suited up for this one – and a finale satisfyingly full of high kicks. Some of the best numbers, though, are some of the oldest ones: “Parade of the Wooden Soldiers” which has been a part of the show largely unchanged since 1933, a “Living Nativity” which has evolved considerably from that time to this, and a somewhat newer but still classic delight called “Rag Dolls” which at one point features a teddy bear in a pink tutu.

Director/choreographer Julie Branam has pulled together a daunting number of elements and collaborators to put together an extravaganza that can hold its head up in the tradition of Rockettes’ legendary holiday-season shows. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Seth’s Broadway Breakdown

On By dramaqueennycIn cabaret, reviewLeave a comment

Seth Rudetsky is best known as a host on SiriusXM’s “On Broadway” channel, but is almost as well known for his YouTube videos “deconstructing” showtunes – hilariously analyzing them second by second to show what is amazing about them, as well as moments that make no musical sense. For years he’s been doing live shows compiling those deconstructions, under titles like Seth’s Big Fat Broadway Show (now the name of one of his SiriusXM programs) and Deconstructing Broadway.

He’s back onstage with this fresh new version of that show that frames these analyses with the fanciful idea that Broadway left us for the last year and a half because we didn’t properly thank Broadway for all the wonderful things it gives us. So Seth will “break it down” for us.

First off he addresses a misconception that he hates “legit” sopranos – not true, he just loves belters more! From which point he gives us an gleefully detailed history of high belting, from Ethel Merman’s trademark high B, thorough Nell Carter’s high E in Ain’t Misbehavin’, to Patti LuPone’s 16 high E’s going to a high G in Evita. He goes on to compare LuPone’s version to Madonna’s movie version, which does not go in Madonna’s favor, to say the least. Howlingly funny.

In addition to having us listen along to Broadway cast recordings, Rudetsky joyfully lip-syncs, demonstrates techniques in his own voice where he can, and plays examples of arranging techniques on the piano. In particular he dissects an Osmond family Fiddler on the Roof where the arrangements blithely ignore what the songs are actually about, to hilariously ridiculous effect.

There are also archive recordings and live stuff that Seth, as a longtime Broadway musician and insider, has special access to. After seeing this show, you’ll have a clear idea of things like the difference between chest voice and head voice, especially when that head voice is “unwelcome,” which he explains through a side-splittingly funny deconstruction of “Do Re Mi” from The Sound of Music. Seth’s overjoyed that Broadway is back, and I’m thrilled he’s sharing that joy with us. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: The Unsinkable Molly Brown

On By dramaqueennycIn musical, Off-Broadway, review, theatreLeave a comment

I admit I didn’t know much at all about Molly Brown or her namesake musical, aside from her surviving the sinking of the Titanic. So I come to this “revisal” with no prior prejudices. I’m not a huge fan of composer Meredith Willson’s music in the first place; the pastiche Americana of his big hit The Music Man decidedly doesn’t move me, though it works well for telling that particular story.

The man behind this revision, bookwriter Dick Scanlan, has done his research into the historical Molly, who it turns out was socially progressive and, eventually, a philanthropist and reformer. He thought that was a much more interesting story than the original production’s simple rags-to-riches angle. And I agree. That doesn’t make it into a first-rate musical – in sharp contrast to The Music Man none of its songs are instant earworms. It does, however, make it a rewarding evening of musical theatre.

Molly Brown, both the historical person (a Denver socialite) and the musical comedy character, fairly bursts with positivity and determination, so the actress who portrays her must possess abundant energy and charisma. This production’s Molly, Beth Malone, is blessed with a bounty of both qualities. Director / choreographer Kathleen Marshall deploys a very gifted ensemble with great creativity. Neither the show or the production is a masterpiece, but both are above average fun. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.