Tag: Paula Scrofano

Review: Mary Poppins (Marriott Theatre)

Summer Naomi Smart as Mary Poppins in Marriott Theatre's "Mary Poppins," directed by Gary Griffin. (photo credit: Peter Coombs)

       
      
Mary Poppins 

Music/Lyrics by Richard and Robert Sherman,
    George Stiles and Anthony Drewe
Book by Julian Fellowes
Directed by Gary Griffin
at Marriott Theatre, Lincolnshire (map)
thru Jan 5  |  tickets: $40-$48   |  more info
       
Check for half-price tickets 
    
        
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November 10, 2013 | 0 Comments More

Review: Oklahoma! (Lyric Opera of Chicago)

Ashley Brown and John Cudia star as Laurey and Curly in Lyric Opera's "Oklahoma!" by Rodgers and Hammerstein, directed by Gary Griffin. (photo credit: Dan Rest)        
       
Oklahoma! 

Music by Richard Rodgers 
Book and Lyrics by Roger Hammerstein II
Directed by Gary Griffin
Conducted by James Lowe
at Civic Opera House, 20 N. Wacker (map)
thru May 19  |  tickets: $42-$153   |  more info  
       
$27 tickets available here!
    
        
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May 6, 2013 | 1 Comment More

Review: Sunset Boulevard (Drury Lane Theatre)

Christine Sherrill as Norma Desmond in Drury Lane Theatre's "Sunset Boulevard" by Andrew Lloyd Webber, directed by William Osetek. (photo credit: Brett Beiner)        
       
Sunset Boulevard 

Music by Andrew Lloyd Webber 
Book/lyrics by Don Black, Christopher Hampton
Directed by William Osetek
Drury Lane Theatre, Oakbrook Terrace (map)
thru March 24  |  tickets: $35-$46   |  more info
       
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February 6, 2013 | 0 Comments More

Review: My One and Only (Marriott Theatre)

Andrew Lupp and Summer Naomi Smart star in Marriott Theatre's "My One and Only" by George and Ira Gershwin, directed by Tammy Mader. (photo credit: Peter Coombs)        
      
My One and Only 

Written by Peter Stone and Timothy S. Mayer
Music by George and Ira Gershwin
Directed and choreographed by Tammy Mader
at Marriott Theatre, Lincolnshire (map)
thru Jan 6  |  tickets: $40-$48   |  more info
       
Check for half-price tickets 
    
        
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November 20, 2012 | 0 Comments More

Review: 42nd Street (Theatre at the Center)

Paula Scrofano and Dale Benson star in Theatre at the Center's "42nd Street", directed by William Pullinsi. (photo credit: Johnny Knight)        
       
42nd Street  

By Harry Warren (music), Al Dubin (lyrics) 
Book by Michael Stewart and Mark Bramble
Directed by William Pullinsi 
Theatre at the Center, Munster, IN (map)
thru Oct 21  |  tickets: $38-$42   |  more info
       
Check for half-price tickets 
    
        
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September 20, 2012 | 1 Comment More

Review: The Sound of Music (Drury Lane)

Katie Huff, Zachary Keller, Laura Nelson, Ben Parkhill, Arielle Dayan, Emily Leahy, Julia Baker       
      
The Sound of Music 

Written by Richard Rodgers (music)
and Oscar Hammerstein II (lyrics)
Book by Howard Lindsay, Russell Crouse
Directed by Rachel Rockwell
Drury Lane Theatre, Oakbrook Terrace  (map)
thru Jan 8  |  tickets: $35-$45   |  more info

Check for half-price tickets  
     
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October 28, 2011 | 2 Comments More

Review: My Fair Lady (Paramount Theatre)

     
Andrea Prestinario and Nathan M. Hosner - My Fair Lady Paramount Theatre
My Fair Lady
 

Written by Alan Jay Lerner & Frederick Loewe 
Directed by Jim Corti
at Paramount Theatre, Aurora (map)
thru Oct 2  |  tickets: $35-$47  |  more info

Check for half-price tickets

    Read entire review

     
September 18, 2011 | 0 Comments More

Review: Broadway Bound (Drury Lane Oakbrook)

  
  

Cue the laughs

  
  

Max Polski, Mike Nussbaum, Carmen Roman, Jason Karasev, Paula Scrofano and Richard McWilliams in Drury Lane Oakbrook's "Broadway Bound" by Neil Simon.

   
Drury Lane Oakbrook presents
   
   
Broadway Bound
   
Written by Neil Simon
Directed by David New
at Drury Lane Oakbrook, Oakbrook (map)
through July 31  |  tickets: $35-$46  |  more info

Reviewed by Lawrence Bommer

There’s a telling scene near the end of Broadway Bound where young Eugene Jerome, the fictitious, future Neil Simon, raptly listens to his mother. First shyly, then rhapsodically, she retells a familiar recollection: how one special night George Raft, slick, sophisticated and notorious, actually asked her to dance, how they eased across a spellbound dance floor and how young Kate became, too briefly, the envy of the neighborhood.

Jason Karasev and Max Polski in Drury Lane's "Broadway Bound" by Neil Simon.Simon not only shapes the memory like a living statue, he shows us Eugene’s amazement that his mother ever had a vibrant life apart from him. More importantly, Eugene is caught in the act of becoming a writer: This time around he doesn’t just hear Kate’s oft-told tale, he transforms it into an imaginary play by acting out audience reactions and punching home the reverie’s big moments.

All the give and take between life and art is right there in this seminal scene.

Capping Brighton Beach Memoirs and Biloxi Blues, Broadway Bound, the third installment in Simon’s semi-autobiographical trilogy, is in many ways the most revealing. Simon’s "Portrait of the Artist as A Young Gag Writer" depicts a young, contagiously hopeful Eugene and his eager-beaver brother Stanley embarking on a career as comedy writers at the very moment their Brooklyn-bound family is falling apart: Their grandparents have separated, their parents are soon to split, and at the end Eugene and Stanley – no longer stockroom and retail clerks, but salaried serial writers for CBS Radio – leave home for Manhattan. (Again Eugene acts as narrator; it makes good sense, given the writer’s journey depicted by Biloxi Blues.)

It’s almost comically cruel, this Chekhov-like juxtaposition of the sons’ callow careerism with the rapid disintegration of the Jerome household. It should be sad but there’s too much life to it.

Equally honest is the way this domestic drama refuses to fob off neat solutions, let alone a happy ending. The story builds by relentlessly denying any expectations of any joyous, last-minute reconciliation. At the same time the most positive force in the play, Eugene’s ambition to strike it rich as a radio writer, is nothing more than a dramatic promissory note.  It’s a harrowing picture of a past that’s rapidly burning out and a future that stays beyond reach.  Fortunately, the comparatively little of the play that happens in the present tense is delightful, by no means the usual formulaic "simple Simon."

It’s the late 40s and, whether he knows it or not, young Eugene, a hardened veteran of family squabbles (Brighton Beach Memoirs) and World War II (Biloxi Blues), is slowly turning his life into art. With their mother’s blessing, Eugene and Stanley want to be comic writers; the father just wants them to work hard, as he must in a job he loathes, and not complain. Rich with a writer’s details gleaned from sharp-eyed observation, these family portraits resonate with the charm of memory and the harshness of the actual. The now-rich Aunt Blanche returns, desperate to reunite her parents. But Eugene’s Trotsky-loving grandfather refuses to join his wife in Florida, certain no decent socialist could ever submit to such self-indulgence.

At the same time Eugene’s mother Kate is helpless to keep her brood from slipping away or even to get them to show up for dinner (a telling difference from Brighton Beach Memoirs).

Instead, Kate watches her marriage take the same downward course as her mother’s. Husband Jack, burnt out from years of dead-end work as a cutter of women’s raincoats, is unfaithful and, no Jezebel, the other woman is a middle-aged, dying widow who simply asks Jack questions that make him see everything differently. So Kate is left to agonize over a lifetime’s sacrifices, including one of a life of her own; well, they seemed so important at the time…

If Kate looks back, Eugene and Stanley are trying to peel the wrappings from their future. In the play’s most original scene we see Eugene and Stanley working against a looming deadline as they desperately search for a surefire formula for flawless comedy. (An exhausted Stanley remarks, "I love being a writer–it’s just the writing I can’t take.") At last Stanley finds it: people laugh when a character’s overwhelming need for something is frustrated by some undeniable conflict. Their example–a man with a busted back and a woman with a broken leg that can’t close a window in winter– isn’t screamingly funny, but it contains that crucial element, other people’s pain, that Simon will exploit in many, many comedies to come.

     
Paula Scrofano and Mike Nussbaum Carmen Roman, Max Poski, and Mike Nussmaum
Carmen Roman and Richard McWilliams Paul Scrofano Max Polski

Certainly the play practices what it preaches: Hilarious conflict between art and life and between life and life erupts when the family gather to hear the brothers’ first half-hour broadcast. It doesn’t help that the grandfather despises humor: art should be ”about something,” he argues, preferably the coming victory of the proletariat. Disagreeing, the Jerome brothers know that writers must write about what they know, in this case their family.

But when the Jeromes see themselves as the butt of national jokes, especially when the radio dad is described as a garment cutter who’s "into lady’s pajamas," it’s no laugh a minute. Interpreting the crack as an accusation of adultery, Jack reviles the boys for disgracing the family by hanging out their dirty laundry. Stanley retorts that their father dirtied it himself. Of course both are right, which is just what makes it hurt.

The moment represents Eugene’s first encounter with the treacherous power of art over life. But he soon learns that other family friends who listened to the broadcast thought the boys were spoofing ”their families.” So art can transcend its inspiration after all. The play ends in a series of Chekhovian farewells.

Setting aside the art vs. life dialectic, Broadway Bound is just a play that wants to please. Drury Lane Oakbrook’s production certainly does, thanks to the uncondescending compassion with which director David New colors Simon’s broken home. Collette Pollard‘s cut-away two-story stage is a nostalgically appointed, grown-up doll’s house while Linda Roethke‘s period costumes eloquently tell their time.

Mike Nussbaum Gangly Max Polski nicely balances Eugene’s coltish energy and hunger for the big time against his helplessness to prevent his parents’ breakup. At first defensively glib and perky as beleaguered Kate, Carmen Roman eventually–and dramatically–hardens herself. Despite a nearly perpetual frown, this mother faces her hard times with unforced grace and no small residue of love, and when she recalls the close encounter with George Raft the whole stage glows.

From the start Richard McWilliams emotionally isolates the bitter, lonely father ("There’s no place for me"); where almost everyone else reaches out he’s resolutely pulling in. In contrast, Jason Karasev as needy Stanley shows us all too well the price he’s paid for the father who isn’t there for him. In a sharply etched cameo, Paula Scrofano conveys aunt Blanche’s current crisis: She won’t feel guilty because she’s rich.

The most cunning work is Chicago legend Mike Nussbaum‘s foxy performance as the sardonic, all too literal, grandfather, a man who can tell a joke without getting it. No doubt this boiler-plated curmudgeon is the hardest audience Eugene ever played to–and the best discipline possible for a future king of Broadway.

The play’s one problem remains constant since 1986: Too often Simon answers questions we never asked and dodges ones that we do: Just what do the boys learn about the danger of life imitating life from their embarrassing exposure of their family on national radio? Why do they turn to comedy as a distraction from the family crises? (Why not woodworking?) Why do they need to make us laugh? There’d be some great answers there. Just asking.

  
  
Rating: ★★★
  
  

Max Polski, Mike Nussbaum, Carmen Roman, Jason Karasev and Richard McWilliams

    All photos by Brett Beiner


June 18, 2011 | 0 Comments More

REVIEW: A Civil War Christmas (Northlight Theatre)

     
     

History and make-believe, perilously intermixed, lack focus

     
     

Felicia P. Fields with the cast of A Civil War Christmas

   
Northlight Theatre presents
   
A Civil War Christmas
   
Written by Paula Vogel
Directed by
Henry Godinez
at
Northshore Center for Performing Arts (map)
Through Dec 19  |  tickets: $35-$55  |  more info

Reviewed by Lawrence Bommer

Paula Vogel is a playwright who divides in order to conquer: Her plays depict our socio/political/sexual differences, only to connect us to a larger linkage. How I Learned To Drive, Desdemona, The Baltimore Waltz and And Then There Were Seven scrutinized, respectively, incest, miscegenation, AIDS and same-sex love to put them in a context that discourages kneejerk repudiation and warrants something like understanding bordering on tolerance (well, not for child sex abuse, of course).

001_Khori Faison and Mildred Marie LangfordSet in the grim, war-torn winter of 1864 and on the supposedly special night of Christmas Eve, Vogel’s latest work in progress, now at Northlight Theatre, recalls Andersen’s “The Little Match Girl” as it depicts a fugitive slave searching the dangerous streets of Washington D.C. for the daughter from whom she was separated after her arrival on the Underground Railroad. In ironic contrast, a mood-swinging Mary Todd Lincoln is on her own search—for the perfect Christmas tree to ensure domestic tranquility.

Since Vogel’s plays separate only in order to reconnect, their paths are bound to connect and connect and connect. Vogel contrives to create at least two non-factual Christmas miracles before these busy 150 minutes finally end. Before then she opens a time capsule that’s both absorbingly actual and problematically imagined. The result is a cross-section of life in wartime Washington that’s enriched immeasurably by carols like Longfellow’s “I Heard The Bells” and “What Child Is This?,” spirituals like “There Is A Balm in Gilead” and “Follow the Drinking Gourd” (a guide for escaping slaves), and Civil War anthems (“While We Were Marching Through Georgia” and “The Liberty Ball”).

Between the songs the often cluttered action depicts both sides of a dangerously divided capital circa December 24, 1864. John Wilkes Booth (Derek Hasenstab) and his clumsy conspirators try to kidnap Lincoln. Lincoln (Will Clinger) improbably wanders off in the middle of the night to his Summer Cottage, reciting deathless phrases from his upcoming inaugural address and briefly glimpsing the lost former slave girl. Manic, extravagant, and driven, Mary Todd Lincoln (Paula Scrofano) manages to find her rare fir tree, which should have gone to the orphan home run by her African American seamstress Elizabeth Keckley (Felicia P. Fields), to socialize at a Washington charity event, to chat with Anna Surratt (who’s related to one of her husband’s future murderers), and to visit a dying boy in a soldiers’ hospital. (Maybe there were three Mary Todd Lincolns wandering Washington on this holy night.)

Less well known characters mix with the historical. Willy Mack (Samuel Robertson), who remembers how the Rebels slaughtered the black soldiers at Fort Pillow after they’d peacefully surrendered, vows to take no prisoners: Will he kill a 13-year-old Southern farm boy who wants to fight for Moseby’s Raiders but got lost? Two black soldiers are delegated to steal the much-moving Christmas tree from the Executive Mansion (it wasn’t the White House for another half century) and surprisingly succeed. Jewish soldiers hold a seder.

On this busy night we also catch name-dropping glimpses of Robert E. Lee, Ulysses Grant, Lincoln’s advisor and former law clerk Nikolai, Secretary of War Edwin Stanton , Clara Barton (bringing in the wounded by ship), conspirators Lewis Payne and John Surratt, Elizabeth Thomas (who founded a shelter for wartime refugees), Longfellow, the ghost of Elizabeth’s murdered son, and Walt Whitman (dressing soldiers’ wounds and doubling as St. Nicholas).

In short, A Civil War Christmas lives up to its generic name with awesome specificity, not that the revelations it delivers can be entirely trusted. In the second act the overlapping and sprawling scenes become overcharged as well: The script, bent on at least two happy endings and as many messages of hope, slowly sprouts more contrived coincidences than Dickens would have dared. At least Ragtime, which this show most closely resembles, restricted its mix of historical and imaginary characters to four easily followed and separate-but-equal plotlines, eventuating in a believable but very different family from the traditional one seen at the musical’s beginning.

Director Henry Godinez and a superb cast of Chicago pros and young acolytes work like plow horses to shape and sort out this A.D.D. plethora of multiple narratives and messages. But it still helps if you’re a Civil War buff specializing in the winter of 1864. The point beyond the plots is a strong one. As Vogel says, in 2010 as well as 146 years ago, community values count just as much or more than family values. But if manufacturing feel-good resolutions and ignoring the horrible context of a fratricidal national insurrection is the way to preach that gospel, I’m not a believer. But the ballads, like the exquisite “Yellow Rose of Texas,” are glorious stuff. This show sings far more powerfully and persuasively than it speaks.

   
   
Rating: ★★★
 
 

003_Cast of A Civil War Christmas

  
  
November 22, 2010 | 3 Comments More

REVIEW: Dirty Rotten Scoundrels (Theatre at the Center)

Bad People, Great Musical

 

 DRS- Dara Cameron and ensemble

   
Theatre at the Center presents
   
Dirty Rotten Scoundrels
   
Book by Jeffrey Lane
Music/Lyrics by
David Yazbek
Directed by
William Pullinsi
Theatre at the Center, 1040 Ridge, Munster, IN (map)
through October 10  |  tickets: $36-$40  |  more info

Reviewed by Keith Ecker 

I really didn’t know what to expect walking into the regional premier of Dirty Rotten Scoundrels. First, because the musical is based on the 1988 comedy, I wondered whether it would be another repackaged Hollywood film set to music and fed back to us. Second, Dirty Rotten Scoundrels is a production of Theatre at the Center (TATC), located in Munster, Indiana. It truly is a rare occasion when I get to venture out of the city proper, and so I was eager, as well as a little skeptical, to see if TATC would rival Chicago-quality theatre. By the end of the play, I was certainly reassured that, yes, Hollywood films can be transformed into worthwhile musicals, and, yes, good theatre exists beyond the city limits.

DRS- Larry Adams and Paula Scrofano Dirty Rotten Scoundrels focuses on two European-based professional swindlers. Lawrence Jameson (Larry Wyatt) is the refined cad who fabricates a princely back story for himself, which he uses to pray upon the dreams and sympathies of naïve, wealthy women. His rival, who he encounters by chance, is Freddy Benson (Michael Mahler). Freddy is an amateur thief who, after discovering Lawrence’s true identity, encourages Lawrence to teach him the ways of the rogue.

Eventually, the teacher-student relationship transforms into a competition, where Lawrence and Freddy wager on who is the more skillful scoundrel. At the center of this bet is Christine Colgate (Dara Cameron), a wealthy American heiress. The two hatch elaborate schemes to win her over, and a comedy of errors ensues.

The musical (book by Jeffrey Lane with music and lyrics by David Yazbek) is genuinely funny. The writing is sharp, so sharp that I enjoyed the non-musical portions of the show just as much as the singing and dancing. Witty word play and even some risqué off-color jokes appear throughout, as do the occasional pop-culture references. There’s also plenty of meta-humor, too, with characters toying with the art form’s conventions.

The caliber of singing and acting talent rivals that of any big-time, downtown Chicago production. Wyatt, Mahler and Cameron all give standing-ovation-worthy performances. Harmonies are pitch perfect, and timing is impeccable. What more could you want out of a cast?

 

DRS- Michael Mahler and ensemble Great Big Stuff DRS- Dara Cameron, Michael Mahler and Larry Wyatt

Speaking of rivaling downtown productions, TATC definitely has the firepower to produce a large-scale spectacle. The lighting system alone looks like something out of “Close Encounters of the Third Kind”. All actors are outfitted with mics, making it very easy to hear every word and note throughout the spacious auditorium.

The only element stopping me from giving this production four stars is its pace. The play, with intermission, runs about two-and-a-half hours. Although William Pullinsi’s direction is otherwise commendable, he relies too heavily on blackouts to transition from scene to scene. This bogs down the musical, draining some of its momentum.

TATC’s Dirty Rotten Scoundrels goes to show that being out of the Loop isn’t necessarily a bad thing. If you’re in the mood for a hilarious musical with a good story and excellent performances, go see this play.

   
   
Rating: ★★★½
  
   

DRS- Michael Mahler, Larry Wyatt and Lauren CreelPerformances are Wednesdays and Thursdays at 2pm.; Fridays and Saturdays at 8pm, Sundays at 2:30pm; select Thursdays at 7:30 or 8pm. and Saturdays at 2:30pm. Ticket prices range from $36 – $40.  For ticket info, call the Box Office (219.836.3255), Tickets.com (800.511.1552) or visit www.TheatreAtTheCenter.com.

      
     
September 18, 2010 | 1 Comment More

REVIEW: The Drowsy Chaperone (Marriott Theatre)

A journey to another world

 

DROWSY CHAPERONE--Andy Lupp as George and cast

  
Marriott Theatre presents
 
The Drowsy Chaperone
 
Music/Lyrics by Lisa Lambert and Greg Morrison
Book by
Bob Martin and Don McKellar
Directed/Choreographed by
Marc Robin
Musical direction by
Doug Peck
at Marriott Theatre, 10 Marriot Drive (map)
Through June 28th
  |  tickets: $35-$48  |  more info

reviewed by Oliver Sava

I love Cole Porter’s Anything Goes. No, I’m not reviewing Anything Goes, but hang in there with me. The plot is laughable, relying on many standard musical theatre tropes – mistaken identity, leading lady leaving the stage behind, gangsters, horribly offensive racial stereotypes – but really the story is just a vehicle for the music. Can DROWSY CHAPERONE--Tari Kelly as Janet (moon) anyone deny the rousing thrill of “Blow Gabriel Blow”? The devastating heartbreak of “I Get A Kick Out of You”? And that tap break at the end of Act I? Perfection. Listening to Anything Goes is traveling to another time, an age of innocence when every loose end was tied up with a pretty pink ribbon and the only ending was happily ever after. For Man in Chair (the brilliant James Harms), that musical is The Drowsy Chaperone, and when the needle scratches against vinyl his entire world is transformed into the melodramatic paradise of 1920’s musical theatre.

The Drowsy Chaperone is a tribute to the musicals of Porter and Berlin and Gershwin, a celebration of every spit take and tap break, a love letter to the days when love was all there was. Lambert and Morrison’s music and lyrics provide the ballads and belts people expect from the genre, serving up fine pastiches of the genre’s greats, but Martin and McKellar’s ingenious book is what gives the show an added dimension. Man in Chair is a narrator that is the embodiment of escapist theory, physically entering the world that the audience is only able to observe. Sure, he comments on the musical’s absurdities – those pesky stereotypes, the wafer-thin plot, that song with all the monkeys – but the ridiculous fiction is easier than the harsh reality of his lonely apartment. And then there’s a five minute tap break. That’s the kind of musical The Drowsy Chaperone is.

Director Marc Robin is a master at staging in the round, keeping his actors in constant motion so that no one in the audience is stuck staring at backs the whole night, and his energetic choreography creates dimension on the mostly bare stage. Jazz is blended with ballet, ballroom, and some impressive tumbling to create visually stunning images, and the cast dances it beautifully. The aforementioned tap number is lightning quick, seriously demanding, and impeccably executed by the ever-smiling Robert Martin (Tyler Hanes) and his best man George (Andy Lupp). The physical comedy is slapstick at its finest. Each new scene offers a different way for Adolpho (Adam Pelty) to humiliate himself, and Mrs. Tottenham (Paula Scrofano) spitting in Underling’s (Gene Weygandt) face is a long-running gag. The biggest laughs come from the Man in Chair’s commentary, largely because Harms is the one saying it.

 

adam-pelty-as-adolpho david-lively-and-laura-taylor
jim-harms-as-man-in-chair linda-balgord-as-drowsy-chaperone

From his first monologue in complete darkness to a joyous moon-ride finale (no, that is not supposed to make sense), he charms the audience with his passion for the theater and makes his home a place you want to be. There is a lot of potential darkness to be explored in Man in Chair, and Harms gets just close enough to the edge that he can provoke a little more insight into the character’s struggle while still being able to turn back and box step with a lesbian Aviatrix (Melody Betts). The biggest joke is how different his real life is from the world of The Drowsy Chaperone.

In the title role, Linda Balgord flippantly dismisses the situation at hand in favor of the next drink, belting the inspiring “You’ll Never Walk Alone”-a-la-Joanne-from-Company “As We Stumble Along” to no one in particular. Robert Jordan and Janet Van De Graaff (Teri Kelly) are ideal ingénues, completely idiotic and hopelessly romantic. The racial stereotypes are cartoonish in their exaggeration, from the European (Italian? Spanish?) Adolpho to the “Message From A Nightingale” act II opening, but it’s not offensive if it’s really funny, right?

The Drowsy Chaperone an intelligent musical that builds on the foundations of the genre while paying tribute to the work that has come before it. Those kinds of musicals are hard to find. It’s easier to turn a movie into a musical, or take a Billboard artist’s discography and add a plot. Marriott’s production is a journey to another world, and even if we have to watch from the sidelines, the view is great.

       
        
Rating: ★★★½
     
     

gangsters-and-producer-felzieg

May 13, 2010 | 0 Comments More

REVIEW: Fiddler on the Roof (Marriott Theatre)

Marriott takes the Jewish out of Fiddler

 fiddler01

Marriott Theatre presents

Fiddler on the Roof

Book by Joseph Stein, music by Jerry Bock, lyrics by Sheldon Harnick
Based on the stories of Sholom Aleichem
Directed and choreographed by David H. Bell,
musical direction by Doug Peck
Through April 25 (more info)

Reviewed by Leah A. Zeldes

With its haunting melodies, endearing characters and poignant, historic story, Fiddler on the Roof is one of the greatest musicals of all time. Joseph Stein, Jerry Bock and Sheldon Harnick crafted a musical so beautiful, so compelling, that — from Broadway theater to high-school auditorium — it’s a tough show to screw up. As with any production of this engaging show, Marriott Theatre’s "Fiddler" offers much to enjoy, but it’s a long way from a great version.

fiddler03 The story of Tevye, a Jewish dairyman, and his family and friends in the Russian shtetl Anatevka, ca. 1905, is a multi-layered tale both personal and sweeping. In its conflicts between progress and tradition, between generations, between duty and desire and between different faiths and cultures, "Fiddler on the Roof" offers many universal truths. Tevye is a father coming to grips with his children’s coming of age. Anatevka stands for a lost way of life, as exotic and vanished a culture as Brigadoon.

Yet despite the looming presence of the disruptive outsiders, Anatevka represents not just any lost society, but a Jewish homeland, a tight community whose people spoke their own Jewish tongue (Yiddish, the language in which Sholom Aleichem wrote the original stories that inspired this musical) and where they brought up their children according to age-old Jewish customs. Tevye, above anything else, is a deeply religious Jew. Further, his people’s traditions were not just left behind by the passing of time, they were murderously stolen by bitter bigotry.

Fiddler on the Roof, first and foremost, is a Jewish story. Director David H. Bell, in his perception of Tevye as a bland "Everyman," seems to have missed that point.

You’ll rarely hear any Yiddish or Hebraic accent in his version of "Fiddler." When the script or score compels it, as in the "bidi-bidi-bums" of the klezmer-style song, "If I Were a Rich Man," Ross Lehman, as Tevye, seems ill at ease, almost swallowing the fiddler04syllables. James Harms, meanwhile, plays the village rabbi like an Irish priest, complete with rolled R’s. The whole rhythm of the show seems off, in part because it lacks the cantorial cadence normally imbuing the lead.

Lehman may be the least patriarchal Tevye ever — not discounting those high-school productions. It’s not that he’s a tenor in a role typically cast for a baritone and a physically smaller man than the actors famous for this part; it’s mostly his tone. Tevye, a devout and spiritual man, expresses his deep, personal relationship with God and with his family conversationally and often sardonically throughout the play, but he isn’t snide. Lehman’s Tevye is snarky where he ought to be good-humoredly ironic, arch when he should be aggravated. His performance evokes Paul Lynde or Edna Turnblad (his most recent role at Marriott, a brilliant turn) more than Zero Mostel or Topol.

Beyond casting flaws, Bell’s direction and choreography frequently disappoint. Although he’s no newcomer to Marriott’s theater-in-the-round stage, this show seems to have challenged his ingenuity. From my seat in Section 4, far too many scenes had me looking at actors’ backs. Faces were often obscured by vertical posts or the back of another player’s head. This particularly marred the scenes where Tevye and the butcher Lazar Wolf (an oddly low key David Girolmo) talk at cross purposes and in which Tevye recounts his nightmare to his wife, Golde. Bell redeems these scenes somewhat by well-executed dance numbers, but there, too, I often seemed to be viewing them edge on.

fiddler09 fiddler06
fiddler05 fiddler08

Marriott Theatre typically stages musicals with large casts beautifully, yet the "Fiddler" stage often seemed cramped and overcrowded, particularly in ensemble numbers such as the "Sabbath Prayer" sequence. Thomas M. Ryan’s set is lightly furnished (except for those unfortunate posts) and he’s used hanging lanterns and other tricks to expand the stage beyond its physical space, so that fault can’t be laid at his feet.

The ensemble as a whole perform very well, and nothing can rob the power from "To Life" or "Sunrise, Sunset." Andrew Keltz, as Motel, does a sweet version of "Miracle of Miracles," but there are no strong individual voices. Again, beyond Nancy Missimi’s traditional costumes, the characters, even in otherwise excellent performances such as Jessie Mueller’s anguished Tzeitel, Rebecca Finnegan’s brisk Yente and Paula Scrofano’s forthright Golde, rarely convey any sense of Jewish or Old World identity.

The residents of Bell’s Anatevka don’t need to go to America at the end of the play. They’re already there.

 

Rating: ★★½

 

fiddler02

February 28, 2010 | 5 Comments More