Theater Reviews

Young Frankenstein

Susan Granger’s review of “Young Frankenstein” (Hilton Theater: ’07-’08 season)

Cursed with high expectations generated by the phenomenal success of “The Producers,” Mel Brooks has, nevertheless, concocted a deliciously demented musical comedy, a real crowd-pleaser that‘s derived almost completely from his 1974 movie of the same name.
When young Dr. Frederick Frankenstein (Roger Bart) leaves his icy fiancée Elizabeth (Megan Mullally) and travels to Transylvania to claim the family castle, he’s urged by his ancestors (who, literally, come out of the walls) to revive its monster-building tradition. At his side is a willing – and beautiful – assistant Inga (Sutton Foster) and heavily accented housekeeper, Frau Blucher (Andrea Martin), with a dubious past.
As composer, lyricist, and co-librettist with Thomas Meehan, it’s Mel’s classic vaudeville show – with kudos to inventive director Susan Stroman, who lavishly stages the production, and Robin Wagner, who designed the creaky, elaborate old laboratory.
Mel’s tunes are bouncy and his lyrics get laughs, but the most memorable musical number revives Irving Berlin’s “Puttin’ on the Ritz,” which is greatly expanded from the film version. And the funniest running gag involves Frau Blucher’s singing “He Vas My Boyfriend” and two guys dressed as horses, tossing their heads and neighing on-cue.
Familiar to TV audiences from “Desperate Housewives,” Roger Bart plays Dr. Frankenstein straighter than antic Gene Wilder did on the screen but – for Broadway – that works just fine – and Christopher Fitzgerald is absolute perfection as humpbacked Igor. Schuler Hensley makes an amusing monster, while Fred Applegate scores in dual roles as the blind hermit and the armless police inspector.
As for the inflated ticket prices, the whole front row at the Hilton Theater is reserved for student tickets, costing $25, so to pay that absurd $450 for premium seats, you gotta be crazy – or very, very rich!

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November

Theater Reviews / Susan

Susan Granger’s review of “November” (Ethel Barrymore Theater ’07-’08 season)

David Mamet’s deliciously politically incorrect new farce evokes memories of his far-funnier and more satirical screenplay for the movie “Wag the Dog” (1997).
“November” takes place in the Oval Office of the White House. Volatile incumbent U.S. President Charles Smith (Nathan Lane) is running for re-election but his ineffectual first terms bodes badly for winning a second. His numbers are “lower than Gandhi’s cholesterol.” Indeed, his financial resources are so meager that – according to his droll Chief of Staff, Archer Brown (Dylan Baker) – it doesn’t look like he’ll even get a Presidential library after he leaves Washington, D.C.
“I always felt that I’d do something memorable,” the beleaguered Smith intones. “I just assumed it’d be getting impeached.”
Suddenly, waiting in the anteroom, is what might be a windfall. A turkey industry representative (Ethan Phillips) has arrived for the ceremonial pardoning of the traditional Thanksgiving bird – two birds, in fact, just in case. Seizing the moment, Smith wants twice the agreed-upon payment for the two birds and then increases his manipulative demand to $200 million, threatening to pardon every turkey in America. There’s also an aggressive encounter with a Micmac Indian chief, Dwight Grackle (Michael Nichols), who claims half of Nantucket Island for a casino – and an altercation with his harried, perpetually sneezing speechwriter, Clarice Bernstein (Laurie Metcalf), who has just adopted a Chinese baby and uses blackmail to force him to officiate at her lesbian wedding in the West Wing.
Tautly directed by Joe Mantello, Nathan Lane, Dylan Baker and Laurie Metcalf reap the rewards of David Mamet’s broad, manic, often profane humor, evoking laughter time and time again. Scott Peck’s set, Laura Bauer’s set and Paul Gallo’s lighting designs add to the authenticity. Timely and exhilarating, it’s crowd-pleasing theater.

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Come Back, Little Sheba

Theater Reviews / Susan

Susan Granger’s review of “Come Back, Little Sheba” (Biltmore Theater ’07-’08 season)

Sometimes revivals work – sometimes they don’t – and this comeback doesn’t.
Why? William Inge’s 58 year-old play has not aged well. It’s an simply out-dated melodrama that lacks the perennial appeal of either “Bus Stop” or “Picnic.”
Perhaps the Manhattan Theater Club sensed there might be problems so it went for the spice of color-blind casting. Talented S. Epatha Merkerson – a.k.a. Lt. Anita Van Buren on TV’s “Law & Order” – stars as lonely Lola Delaney, a former high-school beauty queen who, over the years, has become a slovenly Midwestern housewife. Kevin Anderson plays her chiropractor husband, Doc, a recovering alcoholic who is tenuously clinging to one year of sobriety while ogling their art student boarder, Marie (Zoe Kazan), who – in turn – is fooling around with a jock named Turk (Brian J. Smith), even though a wealthy hometown lad (Chad Hoeppner) wants to marry her.
While Inge’s repressed characters, as directed by Michael Pressman, are troubled, their downfall is utterly predictable – and contrived. Kevin Anderson fares best, as he spirals down into disillusionment. Sincere-to-a-fault, Merkerson captures Lola’s vulnerability but not her realistic absurdity. For that, you have to trek to the video shop and rent Shirley Booth’s 1952 version. Making her film debut, Booth won an Oscar for her cinematic interpretation of this role which she originated on the Broadway stage back in 1950. (The screen version featured Burt Lancaster as her husband and 23 year-old Terry Moore as the nubile nymph.)
In Moore’s role, Zoe Kazan, granddaughter of director Elia Kazan, is memorable; she’s an up-and-coming actress for whom “Come Back, Little Sheba” will be just a stepping-stone to bigger and better plays.
And production values – James Noone’s set, Jane Cox’s lighting, Jennifer von Mayrhauser’s costumes, Obadiah Eaves’s sound, Peter Golub’s music – are admirable.

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Farnsworth

Theater Reviews / Susan

Susan Granger’s review of “Farnsworth” (Music Box Theater, ’07-’08 season)

Playwright Aaron Sorkin (“A Few Good Men” and TV’s “The West Wing” and “Studio 60 on the Sunset Strip”) imagines the David vs. Goliath-like struggle Philo T. Farnsworth went through to build the first television system on his family’s potato farm back in the 1930s and then, in subsequent years, to try to protect his wondrous invention from being usurped by RCA’s ruthlessly aggressive David Sarnoff, a Russian immigrant who became a broadcasting visionary.
There’s no doubt that young, self-educated Philo T. Farnsworth (Jimmi Simpson) was an engineering genius from Idaho, admits David Sarnoff (Hank Azaria), but he also had a drinking problem. And Sarnoff was the first person to truly understand the possibilities and implications of the embryonic TV medium, acknowledges Farnsworth.
In real life, the two adversaries never came face-to-face but on-stage, they engage in a gripping, imaginary, razor-sharp verbal joust, relating conflicting versions of who said and did what, when and why. About one fact, however, there is no quibbling: Farnsworth called his TV-camera tube an “image dissector,” which RCA’s technicians later improved into an “image orthicon,” eventually shortened to “immy” – and that’s how the Emmys, TV’s highest honor, got their name.
Director Des McAnuff (Tony-winner for “The Jersey Boys”) nimbly paces the complicated aural and visual, almost cinematic concept with its 19-member cast playing 150 different roles, on Klara Zieglerova’s two-tiered set, aided by choreographer Lisa Shriver. Jimmi Simpson radiates engaging warmth, immediately capturing the audience’s sympathy, and Hank Azaria counters with seductive charm.
While Aaron Sorkin’s rousing tale makes tantalizing theater, for the rest of the story, as Paul Harvey would say, read Paul Schatzkin’s biography, “The Boy Who Invented Television.” As opposed to Sorkin’s fabricated version, it was Farnsworth who prevailed in court, and RCA was compelled to pay him $1 million to license his patents.

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Sedition

Theater Reviews / Susan

Susan Granger’s review of “Sedition” (Westport Country Playhouse)

“Sedition” by David Wiltse is a powerful, provocative new play that’s as timely and relevant as today’s headlines.
Andrew Schrag (Chris Sarandon) is a professor of German at the University of Nebraska just as President Woodrow Wilson is urging Americans to support our entrance into World War I; to that end, his administration passes The Sedition Act of 1918, making it illegal to criticize the war or the U.S. government.
Schrag – for various and very sound reasons – doesn’t support the “messianic lunacy” of the President’s precipitous actions, asserting “Stupidity at the top is an insult to all of us who think.”
Firm in his convictions and exercising his freedom of speech, Schrag self-righteously articulates his position at a university hearing questioning his patriotism, jeopardizing not only his teaching career but also his reputation and, perhaps, his marriage.
What makes this true story of courage personal is that Andrew Schrag was playwright-in-residence David Wiltse’s grandfather, although the play is not biographical. Evoking comparisons with Arthur Miller’s “The Crucible,” it’s intriguing “agitprop,” proving that political protest comes in many forms, some more subtle than others.
To its detriment, Tazewell Thompson’s obvious direction accentuates the polemic, as opposed to delving into the troubled relationship of Schrag and his much younger wife Harriet. Often coming across as pompous, Chris Sarandon still seems to be groping for the essence of his conflicted character, particularly when juxtaposed with cleverly manipulative Jeffrey DeMunn, as a government ‘sedition’ investigator, and volatile Colin McPhillamy, as the cynical Chancellor. Hannah Cabell, Mark Shanahan, Bryant Martin lend memorable support. Donald Eastman’s shadow-box set, Robert Wierzel’s lighting, Fabian Obispo’s music and Ilona Somogyi’s costumes effectively enhance the action.
You can see “Sedition” at the Westport Country Playhouse through August 18.

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Legally Blonde

Theater Reviews / Susan

Susan Granger’s review of “Legally Blonde” (Palace Theater ’06-’07 season)

Comedian David Spade was right when he quipped, “‘Legally Blonde’ the musical opened on Broadway last week. It’s a ‘can’t miss’ for anyone who’d like to see the movie again for $200!”
While Reese Witherspoon was indelibly endearing as cheery Elle Wood, so is Laura Bell Bundy. As in the 2001 film, pretty-in-pink Elle leaves her home in sunny Malibu and college life as president of Delta Nu sorority at U.C.L.A. to pursue her boyfriend who’s off to Harvard Law School, where “the girls have different noses.” And “Omigod, You Guys!” she gets in!
Newbie Broadway librettist Heather Hach (credited for the screenplay of “Freaky Friday”) and veteran songwriters Laurence O’Keefe and Nell Benjamin primarily expand scenes from the movie, while kinetic director-choreographer Jerry Mitchell and minimalist scenic designer David Rockwell keep everything moving at a fast pace. Elle’s sorority sisters form an amusing “Greek Chorus” who appear at her side as she faces various dilemmas, and Elle finds a new friend in the forlorn beautician Paulette, who yearns for an Irish lover.
Laura Bell Bundy sings, dances and enthuses, while Richard H. Blake and Christian Borle are convincing as her slick, upwardly mobile college beau (who wants “a Jackie, not a Marilyn”) and scruffy-but-far-better-teaching assistant at Harvard Law, respectively. But the supporting players steal the show, like Michael Ruppert as a predatory professor, understudy Leslie Kritzler as Paulette, Nikki Snelson as an exercise guru/murder suspect, Kate Shindle as Elle’s rival, Natalie Joy Johnson as a militant lesbian law student – and the hunky UPS guy!
While “Legally Blonde” breaks no new ground in musical comedy and pales in comparison with the movie, it’s tuneful, amusing entertainment. So if you enjoyed “Hairspray,” “High Fidelity” and “The Wedding Singer” line up for tickets now!

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110 in the Shade

Theater Reviews / Susan

Susan Granger’s review of “110 in the Shade” at Roundabout Theater’s Studio 54 (’06-’07 season)

In 1930s in drought-parched Texas – in the middle of a heat wave – just when bright, outspoken Lizzie Curry (Audra McDonald) is resigned to being lonely, love-starved “old maid,” a charismatic con-man who calls himself Starbuck (Steve Kazee) breezes in, giving her – and the townspeople – what they lack even more than rain: hope.
Based on N. Richard Nash’s “The Rainmaker” – which traces its roots back to the Cinderella fable – it’s been adapted for the stage by Nash and has music by Harvey Schmidt with lyrics by Tom Jones, the duo who created the long-running “The Fantastics.” But even when it first opened back in 1963, the score of “110 in the Shade” was a bit disappointing – and it hasn’t improved with age.
Of course, back in 1963, it seemed somewhat romantic when the leading man confesses that he ditched the ordinary name of Smith, explaining, “I needed a name that had the whole sky in it. And the power of a man! Star- buck! Now that’s a name for you – and it’s mine!” Now that line just gets a laugh.
What distinguishes this low-key, strangely uneven revival – directed by Lonny Price, choreographed by Dan Knecht and designed by Santo Loquasto – is four-time Tony winner Audra McDonald, who is a joy to behold, even though it’s difficult to believe that she’s just a plain country gal who’s never been noticed by File (Christopher Innvar), the taciturn local sheriff, even though he’s persistently prodded by her pseudo-rustic father (John Cullum) and two bumbling brothers (Chris Butler, Bobby Steggart). As for Steve Kazee as the supposedly charismatic Starbuck, the less said the better.
“110 in the Shade” is not too hot, particularly when compared with the “The Rainmaker” movie, starring Katharine Hepburn and Burt Lancaster.

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Coram Boy

Theater Reviews / Susan

Susan Granger’s review of “Coram Boy” (Imperial Theater ’06-’07 season)

Set in 18th century England, this is the strange and compelling saga of two orphaned boys – one who is dumped near a slave ship and another who is heir to a fortune – set against glorious variations on Handel’s “Messiah” performed by a chorus of 20 singers.
As the sinister, heart-tugging, gothic melodrama begins, Otis Gardiner (Bill Camp) roams the countryside as a “Coram man,” meaning he takes unwanted infants and children for a fee and, supposedly, deposits them at an orphanage founded by Thomas Coram. But nefarious Otis, aided by a scheming housemaid (Jan Maxwell), actually kills the babies and sends the children off to gruesome workhouses while continuing to extort money from their shamed mothers. This appalls Otis’ simple-minded son, Meshak (Brad Fleisher), who secretly saves one particular baby, the illegitimate son of a talented, aristocratic composer and the daughter of his sister’s governess. As the convoluted plot twists and turns, much is revealed about two young men (Xanthe Elbrick, Charlotte Parry), who became fast friends while singing in the chorus at Gloucester Cathedral.
Based on Jamila Gavin’s young-adult historic novel, adapted by Helen Edmundson, and inventively directed by Melly Still, it’s distinctly Dickensian and spectacularly staged, particularly an underwater rescue sequence. With the choir positioned above and behind the actors, the 75 minutes of choral music – about 15% Handel harmoniously integrated with 85% Handel-inspired baroque pieces by composer Aaron Sutton – serve as a kind of classical soundtrack, amplifying and unifying the mood of the narrative.
A welcome import from the National Theater in London, the “Coram Boy” – which at $6 million is the most expensive ‘nonmusical’ play ever produced on Broadway – is not to be missed this season.

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LoveMusik

Theater Reviews / Susan

Susan Granger’s review of “LoveMusik” (Biltmore Theater ’06’07 season)

Inspired by the letters of intellectual German composer Kurt Weill (best known for “The Threepenny Opera”) and his muse, singer Lotte Lenya, “LoveMusik” follows their convoluted, complicated romance, beginning in Berlin and progressing to Paris, Broadway and Hollywood, over a period of 25 years.
Last seen menacing in “Sweeney Todd,” Michael Cerveris transforms into round-faced, bespectacled Kurt Weill, while Donna Murphy embodies, rather than imitates snarling Lotte Lenya, who – in real life – never had a voice as melodic as Murphy’s. But this new musical by librettist Alfred Uhry, directed by Hal Prince, turns out to be an unwieldy series of boring vignettes, beginning with how they “met cute,” as screenwriter Billy Wilder would say.
As the story goes, young Lotte Lenya was dispatched in a small boat and told to row across a lake to pick up Kurt Weill, who was waiting on a dock, and bring him back to the house of playwright Georg Davis (John Scherer) to meet about a possible future collaboration. The rest, as they say, is musical history, particularly when Weill subsequently collaborates with playwright Bertolt Brecht (David Pittu).
Given the limitations of the book, Prince’s production team does the best they can – Beowulf Boritt’s scenic design, Duncan Robert Edwards’ sound design, Judith Dolan’s costumes and, particularly, Howell Binkley’s lighting and Jonathan Tunick’s orchestrations.
Frankly, I’d advise you to skip the show and buy the CD.

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The Pirate Queen

Theater Reviews / Susan

Susan Granger’s review of “The Pirate Queen” (2006-2007 season)

Opening on Broadway in serious need of a course correction, “The Pirate Queen” regally sails on, seemingly unperturbed by early negative reviews.
Based on legends surrounding the real-life Irish clan leader Grace O’Malley, who faced down the British Navy and Queen Elizabeth I back in the 16th century, it’s got one swashbuckling heroine, one regal heroine, two dastardly villains, boisterous Irish music and eye-popping Riverdancing.
Created by songwriters Alain Boubil and Claude-Michel Schonberg (“Les Miserables,” “Miss Saigon”) with some doctoring by Richard Maltby Jr. and John Dempsey; directed by Frank Galati, musically staged by Graciela Daniele; with gigantic, ornate sets designed by Eugene Lee (“Wicked”), opulent costumes by Martin Pakledinaz, lush lighting by Kenneth Posner and authentic Hibernian choreography (albeit with thumping oars) by Carol Leavy Joyce, it’s awesome and impressive. What it isn’t is dramatic or even emotionally engaging – and the Celtic-flavored music is, at best, banal.
But that’s not the fault of Stephanie J. Block, as headstrong Grace O’Malley, or Linda Balgord, as imperial Queen Elizabeth I. Problem is: they don’t come face-to-face until Act II. Before that, buccaneer Grace faces a lot of male-dominated dithering with her father (Jeff McCarthy), her devoted childhood sweetheart (Hadley Fraser) and nasty, chauvinistic husband (Marcus Chait), while Her shrill, empire-building Highness copes with a conniving, ambitious suitor, ruthless Lord Richard Bingham (William Youmans).
The bottom line is: bigger isn’t always better. Erin go blarney!

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