A lot has changed these last few months and there is now a side bar to show what is currently "on the boards". Take a gander. (On your left.)
I'll try to have some insight (albeit lacking detail) on the following productions:
OUR TOWN, Barrow St Theater (Off Bway) Written in 1937 by Thornton Wilder, Our Town is considered a masterpiece by theater folk everywhere. But not by me. I respected it. I appreciated it. I even LIKED it. But I never really was "wowed" by it. Until now. The Barrow St production opened in Feb of '09 and I'd heard nothing but wonderful things about it. And I wanted to see it, but I just kept putting it off. And then it announced its closing.
I went alone last week (down in the village) and had secured a "on stage" seat smack dab in the middle of the action. I was so unprepared for the beauty of this production. I was enthralled, entranced and simply taken on a journey that will reverberate in my soul for quite some time. I cried like I've never cried as an audience member before. Perhaps only to be rivaled by the emotions of my grandmother Sadie's death. I actually felt terrible for the actors having to see my anguish. I cannot single out performances because this production goes BEYOND ensemble acting, if that's possible. THIS is why plays are written and performed. Perfection and light.
MEMPHIS Winner of Best Musical. The kids and I got the cd to this a good 2 months before seeing it. I rather LIKED the cd; my kids loved it. I was actually looking forward to it despite the criticisms. I was...underwhelmed. Certainly a talented cast, GREAT choreography but it left me (to quote 10 Things I Hate About You) 'without'. Without caring, without feeling, without soul. I didn't believe or care about the story.
I wouldn't try to talk anyone OUT of seeing it, but I'm certainly not encouraging anyone TO see it, either.
LA CAGE AUX FOLLES (Revival) Winner of Best Revival. Deservedly so. I liked this, but sadly, I still didn't love it. Maybe the story isn't as cutting edge as it once was. Maybe there have enough more thoughtful stories with leading gay characters, that this is now dated and passe. I couldn't help but think that I was watching FRASIER and not a character. And I just wasn't moved, and I didn't even laugh all that much.
NEXT TO NORMAL (Replacement Cast) SO many folks were going nuts over the new cast (Jason Danieley, Meghann Fahy and Marin Mazzie), stating they were oh-so-much better than the originals. I was so looking forward to seeing how that was possible. It wasn't. Don't get me wrong, they were good. REALLY good. But they certainly didn't erase the originals from my memory. Both Danieley and Mazzie (husband and wife in real life) sing with facial distortions that were quite distracting. Meghann was often sharp and flat throughout the performance. Acting wise, I enjoyed all their performances, but was not wowed by the different choices they made. (Nothing bothered me about them, but nothing stood out and made me say, "Yes! THAT'S better!)
LOVE, LOSS and WHAT I WORE (Off B'way) What a pleasant suprise! A number of gal pals and I decided to see this, due to a lack of other choices. We were thrilled. We laughed, we cried, we sympathized. An evening being...well...women. Love, Loss and What I Wore follows fragmented stories about the nostalgic power of women’s clothing. An ever-changing cast of five women enrobed in chic black sit on stools and tell funny, wistful and universal memories about their families and loved ones through the prism of their closets. Like a long heart-to-heart with your best friend over coffee, the conversation meanders from a bittersweet story of a stepmother wearing the same style bathrobe as her husband’s late wife (to the dismay of the children) to a couple’s musings of what they wore on their wedding day to a rant about loathing the need to carry a purse. With odes to black clothing, cowboy boots and outfits that makes mothers cringe, Love, Loss and What I Wore is unabashedly girly—in a good way.
I saw this twice only about 3 weeks apart (sadly without the benefit of a new cast) and I do believe I enjoyed it every bit as thoughoughly both times. I look forward to the rights and royalties being released as I so look forward to directing and even (gasp!) performing it!!!!
SOUTH PACIFIC (Before it closed.) Still beautiful. Thank you, Lincoln Center.
PROMISES, PROMISES (Revival) I do NOT know why anyone would choose to revive this insipid show. Is it the Mad Men rage? I'm guessing so. Maybe it's me, but a show that shows all men as cheating, mysogynistic and immoral creatures; and all women as stupid and easy is simply NOT my cup of tea. Add to that a tacky plot contrivance of suicide and you have a recipe for disaster.
Let's talk PERFORMANCES: Sean Hayes was actually really sweet albeit a tad old for the role. He doesn't have an amazing voice, but it is pleasant and well suited in this show. Katie Finneran, who won a WELL-DESERVED Tony Award for this role, was an absolute standout in this show. So funny, so alive! Tony Goldwyn in a supporting role was quite impressive. This is a man that I've had a crush on since the movie GHOST. NOW: Kristin Chenoweth. I want to say Kristin is a major talent, and I really like her work. Just not here. Cheno is only a few years younger than am I (late forties for me) and is playing a TWENTY SOMETHING? REALLY? I was in the fifth row and I wasn't buying it. It was distracting and unnecessary.
The only shows currently on Bway that I haven't seen as I have no desire!
Come Fly Away (closing)
Jersey Boys
Million Dollar Quartet
Rock of Ages
The Addams Family
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