REVIEW: Hair

Hair Today, Gone Tomorrow

There’s a whole lot of buzz about the current Broadway revival of Hair. Music, fun-loving hippies, drugs, sex, rock and roll—it’s loud, bright, and boasts full frontal nudity (both men and women). What’s not to love?

Well, let’s start with the plot – there just isn’t much of one. In fact, the entire show is really a collection of songs thrown together with the thinnest of connective anything. A few of the songs are standouts, Aquarius, Let the Sun Shine, Easy to Be Hard … hmm, that might be it. I’m sure there are other songs in the show, but they are just not very memorable.

But what’s weak in concept can be balanced out by a talented cast, right? At my performance, Gavin Creel (who usually plays Claude and has been heralded for his performance) was out. His understudy, Paris Remillard, was—I want to be as diplomatic as possible here—terrible. How do actors get cast in Broadway leading rolls (or even as understudies for leading roles) without the ability to sing on pitch? Remillard was consistently sharp throughout the show, sometimes painfully so. It was like he and his Tribal colleagues were singing in different keys.

The Tribe (aka chorus) could not have been less engaged in the show. At several points throughout, one member of the company was so into a private conversation with a co-chorister, that she practically forgot she had choreography. When she realized that other cast members were already doing their move, she quickly jumped in. Right after however, she was back to goofing with her colleague and together they constantly scanned the audience. Were they looking for their agents in hopes of getting out of their contracts?

OK, but did the design save the day? Mostly, the set is fine and the lights are bright. But near the end of the show, when Claude came out in his military uniform after being drafted into the military, I don’t know WHAT was going on with his hair. Yes, his long locks were gone, but he should have been in a perfect military cut. Instead, he was sporting his own contemporary cut, and had a big piece of black tape stuck to his forehead. I assume the tape was to hold his mic in place, but it was just bizarre. It was as if he was a last minute replacement for Creel and the production team didn’t have time to rehearse him (or his quick change into his final look). Was the tape intentional or just a wardrobe malfunction? Who knows!

And just to make sure that everything is balanced in this cosmic mess, the audience also misbehaved. About 45 minutes into Act one, a secret service-looking man appeared on the floor just to the right of the stage. On the other side, just to the left of the stage, a similar looking person appeared. Each had an ear-piece and was clearly very official. As the Act ended and the house lights came up, these two people, accompanied by two more who seemed to magically appear, rushed to the front of the audience and said, “Ladies and gentlemen, please stay seated for just a moment.” And then they ascended on a couple in the third row and escorted them (and their video camera) out of the theatre. What were these people thinking? Even with a show espousing peace and love, I still hate people.

The production ends with an onstage dance party and “Be-In.” The audience is invited to go onstage during the curtain calls to dance. Unfortunately, any magic of seeing people dancing and enjoying the freedom of moment is marred by the jackasses who decide they are stars and fight their way down center to prance and mug for the rest of the audience as if to say, “This is my moment. Look at me, damn you.” Another reason I hate people.

I believe that the mind tends to shade everything we experience and help us filter out the bad memories. Maybe that is Hair’s secret. That dance party at the end is meant to leave us with a great feeling of joy and happiness. If we end up dancing and singing in the aisles we will only remember the high and not fixate on how bad the show is. For my money, I’d rather have a plot, some nice music, and a lead that can actually sing.

REVIEW: 9 to 5 — The Musical

The Caffeinated Musical

From the first downbeat, the stage at the Marriot Marquis explodes into motion. There are things popping up and down out of the floor, sets tracking on and off, huge scenic elements flying in and out, and a back wall that looks like one of those gigantic electronic signs in Times Square. Once the show starts, the set does not stop moving until after the bows. It creates the frantic pace and atmosphere appropriate for this java-buzzed musical.

9 to 5 is a fun show—it’s not great theatre, but it’s fun. The audience has a great time, and it seems that the cast is having a great time too. This show brings in a crowd equally fun to watch. I love that people refer to the show’s three stars by the names of the actors who played the same roles in the film version of the show. When they refer to Megan Hilty (who is phenomenal as Doralee), they don’t call her Megan or Doralee. Rather, they say, “That precious little girl who plays Dolly sounds just like her.” Or they say, “I just love the one playing Jane Fonda, and that gal playing Lily is wonderful.” But then again, these are the people that 9 to 5 was written and created for.

I saw a Wednesday night performance. My next-seat neighbors arrived in NY from their home in Tennessee on Tuesday and saw 9 to 5 that night. They saw both performances on Wednesday. After the show as we walked by an usher, they squealed, “We’ll see you tomorrow. We have one more.”

These are the same people who are devastated by the news that the show is closing and have made it their mission to trek to New York en masse to support it. Over and over, these folks lamented the show’s fate. I smiled as they said to each other (but loud enough for everyone to hear), “It’s almost a full house! Why are they closing it?” It was as if they were trying to convince the rest of us to join their crusade to keep the show running. Their dedication is inspiring.

By contrast, the people sitting on the other side of me, a girl and a boy (both late teens) clearly there with their parents, were so busy texting that they had no time for the show. Texting is annoying in general—but it’s even more so (not to mention illegal) in a Broadway theatre. Have I mentioned that I hate people?

The show’s director, Joe Mantello, has assembled a cast that looks and sounds great. The stars are perfect for their roles. Megan Hilty is the blonde with a brain. Stephanie J. Block brings down the house in her solo “Get Out and Stay Out” and Allison Janney is delightful as the want-to-be CEO. Mark Kudish is dastardly as Mr. Hart—the self proclaimed sexist, egotistical, lying, hypocritical bigot. But the real star of this show is the ensemble who is put through an incredible workout at each performance by choreographer Andy Blankenbuehler. Every office work-simulating movement—filing a file, delivering a package, typing a memo—is punctuated in syncopated perfection. The visual effect is exhausting and wonderful.

9 to 5 is a crowd pleaser, but not necessarily for the New York audiences. It is pure fun. There’s no great message, no high art, no deep meanings. It is entertainment and for that, it’s great. I’m not surprised that the show is closing in New York after the summer tourist season, and launching its tour in Nashville. I expect the show to be a huge, sell-out as it treks across the country.

I’ll bet those devoted fans sitting next to me will be first in line to buy tickets when 9 to 5 plays their hometown. Good for them!

REVIEW: Blithe Spirit

Blithe Spirit, by Noël Coward, is a wonderful play. It is light, funny, and has been performed to death by community theatres from coast to coast. It is extremely difficult to pull off a great production of Blithe Spirit without brilliantly skilled performers. Fortunately, the current Broadway production of Blithe Spirit has a full cast of qualified and brilliant stars.

Angela Lansbury, who plays the eccentric Madame Arcati, is a joy to watch. Her every movement, gesture, or glance reflects an artist who is confident in her abilities and understands the process of developing a character. I’ve been a fan of Ms. Lansbury forever, and I was thrilled to have the opportunity to see her in this play. I was not disappointed. Her performance is finely honed and exactly right.

Lucky for the audience, Ms. Lansbury is surrounded by brilliant performers. Rupert Everett is Charles, Christine Ebersole is Elvira, and Jayne Atkinson is Ruth.

Rupert Everett is wonderful as Charles. He hits his stride early in Act One and carries it right through to the end of Act Two. Occasionally, an actor who spends most of his time in front of a camera is not convincing on a stage with a live audience. The two crafts are so different; it’s sometime hard to transition from one to the other. Not so with Mr. Everett. He seems at home on the stage.

Christine Ebersole, who won great acclaim for her performance in Grey Gardens, is magnificent as the spirited Elvira. She glides across the stage and is deliciously mischievous. Her movements are beautifully enhanced by the ethereal costume designed by Martin Paklidenaz. Ms. Ebersole also provides the vocals for the delightful interludes between scenes. The clear tone of her voice is unmistakable and the Noël Coward songbook works well to set the mood for the following scene.

Jayne Atkinson’s Ruth is troubled, stern, and venerable. While her character is somewhat unlikeable in Act One, by the middle of Act Two not only has she won us over, we feel sympathy for her.

Susan Louise O’Connor, in her Broadway debut, brilliantly plays the skittish servant, Edith. She is a bundle of energy and is appropriately comical. I look forward to seeing O’Connor in a more prominent role soon! She is a delight.

Simon Jones and Deborah Rush provide serviceable performances as Dr. and Mrs. Bradman.

Peter J. Davison provides a set design full of surprises and magic, and Brian MacDevitt’s lighting creates the appropriately eerie atmosphere for spirits to materialize.

Director, Michael Blakemore must have had fun with this show. Ms. Lansbury is extremely animated and I can only imagine the rehearsals where the two of them created her pre-séance warm-up routine. This cast appears to be having tremendous fun. That fun extends well beyond the proscenium and infects the audience. I thoroughly enjoyed their performances.

Blithe Spirit continues an open-ended run at the Shubert Theatre in New York City.

REVIEW: Exit the King

I love musical theatre; it’s a passion. To be honest, seeing a non-musical is not always something that I look forward to – especially an absurdist play by Eugene Ionesco.

But when the elements of a play work, they really work. Exit the King at the Ethel Barrymore Theatre really works. This theatrical brilliance is the result of collaboration between Geoffrey Rush and Neil Armfield who share credit for adapting Ionesco’s weighty text. Armfield also directs the production, and Rush takes a star turn as the ill-fated King Berenger. Berenger has single-handedly run his country into the ground—several wars have been lost, the environment is suffering, the country is in financial ruins and yet he refuses to acknowledge any of it.

Geoffrey Rush is a brilliant actor. His King Berenger is self-absorbed, demanding, and pathetically tragic. He attacks this role with gusto, and the result is a theatrical gift. It is rare to have the opportunity to see an actor of this caliber. His speeches seem like stream of consciousness ranting rather than scripted dialogue, and his physical performance is spontaneous and fresh. Rush dives into the world of Berenger and takes us along; we understand his needs, feel his pain, and ultimately experience his death together.

Rush and Armfield have assembled an all-star cast for this production. The King’s first wife, icy Queen Marguerite is played by Susan Sarandon, and his younger, vibrant and naïve second wife, Queen Marie, is played by Lauren Ambrose. Both talented actors do justice to their roles. Ambrose is wonderful as she flits about the stage doing everything she can to comfort her King and prolong the inevitable. Sarandon takes the opposite approach, portraying her Queen Marguerite as cold, calculating, and impatiently waiting for the King to die.

But the play is not all gloom and doom. Comic relief is provided by a team of supporting cast members lead by Andrea Martin as Juliette, the royal family’s nurse, housekeeper, cook and chief bottle washer. Martin is hysterical as she attempts to cater to the needs of each of her royal subjects.

The role of The Guard is masterfully played by Brian Hutchison who embraces this seemingly minor role and gives us the performance of a true artist. His affected speech pattern and exaggerated interpretation of The Guard captivates the audience. With perfect comic timing, he is responsible for one of the biggest laughs of the night—a moment that broke the concentration of both Sarandon and Ambrose who tried uncomfortably to conceal their laughter.

William Sadler delivers a serviceable performance in the role of The Doctor.

Dale Ferguson, set and costume designer, has created a simple, functional world for the King’s final hours. The lighting design by Damien Cooper illustrates Berenger’s angst as lights suspended over the audience pulse along with the King’s final heartbeats. John Rodgers, composer, provides a score so subtle and film-like that, if not for the live musicians in the Ethel Barrymore box seats, you might not notice it. If it were absent however, you would most definitely miss it.

The two hours between lights up and final bows is pure theatre. This story is masterfully told and brilliantly acted. Every element works in this intimate telling of a King’s final hours. We feel Berenger’s struggle to hold on. We are encouraged when he seems to gain energy. In the show’s final 15 minutes, as Marguerite methodically, patiently, and caringly escorts Berenger to his throne for the last time, we are with him—almost holding our breath as he climbs the stairs. And when he exhales for the last time, we are both relieved and saddened. But most of all, we are exhilarated by the amazing theatrical journey we have just taken.

Exit the King continues an open-ended run at the Ethel Barrymore Theatre on Broadway in New York City.

REVIEW: Shrek the Musical with a big, green heart!

What show looks like Spamalot, has the adult humor of Avenue Q, and features tongue in cheek nods to about a dozen iconic Broadway shows? The undeniable answer is Shrek, now playing on Broadway at the Broadway Theatre.

Shrek is fun. As a musical, there is really nothing new here—this is not earth-shattering, avant-garde theatre. The music by Jeanine Tesori is fine, the book and lyrics by David Linsay-Abaire are clever, and Jason Moore’s direction is effective. This team has created a perfectly entertaining evening on Broadway.

Tim Hatley, set, costume, and puppet designer, and Hugh Vanstone, lighting designer, have created a world for Shrek that looks and feels very similar to their Spamalot creation from a few years ago. The scene transitions are reminiscent of almost any major Broadway musical. But that’s ok because part of the charm of Shrek is the very intentional nod to other Broadway show moments.

To any avid theatre goer, Shrek is like taking a brilliant musical theatre history class where one gets to see moments from legendary shows including A Chorus Line, Dreamgirls, Sweet Charity, 42nd Street, Gypsy, Beauty and the Beast, and many more. Much of the theatre-insider humor is lost on the tourist audience, but for those of us who relish every musical theatre moment, these are the Easter eggs in the grass. It’s like a very high budget production of Forbidden Broadway.

At the very heart of Shrek is Brian D’Arcy James, who plays the big, green ogre. His voice is pure, and he is immensely likeable as the shunned monster. Sutton Foster’s Princess Fiona is demanding, funny and sentimental. When the two of them come together, there is magic in the air. But the real chemistry on stage is between D’Arcy James and his Donkey sidekick, played to perfection by Daniel Breaker. Breaker has comic timing and reaction of a caliber rarely seen on any stage. With one look or hoof gesture, Breaker says more than pages of written dialogue. Breaker and D’Arcy James look like they are having a great time. Their camaraderie feels real and their performances will almost certainly earn them both Tony nominations (leading and supporting actors in a musical).

The two other standout supporting actors are Christopher Sieber as the vertically challenged Lord Farquaad and John Tartaglia as Pinocchio. It seems a shame that both are forced to perform the show in some sort of torturous and unnatural style. Sieber is hysterical while playing Farquaad completely on his knees. Tartaglia delivers a wonderful wooden boy performance completely in falsetto. Both bring real heart to these extremely demanding roles.

Shrek has a simple story and message that works on many levels. For the kids, there is plenty of simple, funny, big green ogre humor. For adolescents and adults who still enjoy bathroom humor, you’ll find lots to make you laugh (including one scene that puts Blazing Saddles to shame). And for audiences of all ages there is the heart-warming lesson that people should be valued for who they are regardless of their differences. This message is reinforced by the entire company, lead by Pinocchio, in the show stopping production number, Freak Flag. We are reminded to embrace all people (aka Freaks), and to be ourselves, whether we are fat pigs, have religious differences (including witches), or are crossdressing predators like Little Red Riding Hood’s wolf (a self proclaimed "Tranny Hot Mess"). To punctuate the message, Pinocchio, in a high pitched and slightly effeminate voice, asserts, “I’m wood! I’m good! Get used to it!”

Shrek is a fun night of theatre. I suspect that parents who bring their children to see it will be forced to explain some of the adult humor. I particularly enjoyed listening to the concessionaire telling children they needed to get their parents’ permission to buy the shirt featuring a gingerbread man. The shirt simply says, “Eat me!”

The concessionaire explains to the child, “It sort of has a double meaning.” That could be said for much of Shrek, and that’s precisely what gives it such a heart.

2008 - A Theatrical Look Back

Since it is New Year’s Day, it seems appropriate to take a look back at the year in theatre, 2008.

What a mixed year for DC theatre. There were hits, there were misses, and there were shows that premiered here and moved to Broadway way too soon … opening and closing on the same night. Oops. Oh, if only theatre provided a “do over” option.

Let’s start with the hits. One of the best shows of the year was Next to Normal. I saw this show during its premiere at New York's SecondStage Theatre , and was excited to see that Arena Stage would serve as the show’s next venue. Alice Ripley, who starred in both productions, is a gift to theatre audiences everywhere. The show is smart, touching, funny, and extremely well crafted. In my mind, Alice Ripley gets my vote for performer of the year, and Next to Normal gets my vote for best show of the year.



The Signature Theatre had Ace, a funny and poignant show with a great sound, a very catching score, and a breathtaking set. The performances were outstanding, especially the child actors. Signature billed this show as a pre-Broadway production but I have yet to hear of plans for a NY mounting. It’s a great show, and it deserves a successful future.

Signature had another hit with The Visit, starring Chita Rivera and George Hearn. While the show itself was a bit flawed, the incredible performances by this magnificent duo make this production one of the year’s standouts. Chita Rivera looked fabulous, sounded terrific, and was completely captivating. George Hearn was nothing short of breathtaking. When he sings, you are immediately drawn in. Two national treasures sharing a stage, and sharing their gift with their audience.

On the Broadway scene, two shows are worth special mention, Passing Strange and In the Heights. Each was original and offered something never before seen on Broadway. Stew, star and creator of Passing Strange brought a commanding performance from the minute he walked onto the stage to the minute he walked off. This story…so original, so personal, so real, and so moving…caught the eye of Spike Lee who turned it into a feature film (distribution yet to be announced).

In the Heights, featuring its creator Lin-Manuel Miranda, offered one of the most unique theatre experiences I’ve ever had. The sound, a combination of Latin rap and hip hop, fuels the show’s explosion onto the stage. The choreography is original, and the cast has so much energy they consume the audience with their joy. In the Heights is a must see experience.

There were a few other noteworthy productions of 2008, including the Shakespeare Theatre Company’s Argonautika, Signature Theatre’s The Tricky Part, and the national tour of Legally Blonde (Omigod, you guys! This show really rocks!). And the Signature production of Glory Days (which I didn’t hate), was in no way ready for Broadway where it opened and closed on the same day. The biggest surprise of the year was Studio Theatre’s Jerry Springer, the Opera. And, the best one-person event of the year was Sandra Bernhard’s Without You I’m Nothing at Theatre J. Get that woman going and you’re in for a treat.

Now for the bad news. There were some really, really bad theatrical efforts in 2008. Let’s start the list with the Arena Stage production of The Mystery of Irma Vep. With a headliner cast, I just expected more. What were they thinking?

The Signature Theatre production of The Lieutenant of Inishmore left me asking, why? And their production of Les Miserables (which was celebrated as original and intimate) was such a terrible disappointment. In my opinion, no theatre company should do any show that they cannot produce as written. To change the story because of production logistics is distasteful and should not be tolerated. If you can’t do the show as written, choose another show. In this case, Javert’s suicide was “reinvented” eliminating some of the most beautiful and sweeping sections of the score. Very bad and very disappointing.

On the Broadway stage, Is He Dead was a disaster—offensive, dated, and just plain poorly directed and acted. Norbert Leo Butz should be ashamed, and poor Mark Twain is still spinning.

But, let’s close out 2008 on a high note. I recently saw the pre-Broadway production of West Side Story at the National Theatre in DC. While the show is dated, the production is smart and will be a hit in New York.

Have a favorite 2008 theatre story or show? Share your thoughts.

Welcome to 2009!

Another year has come and gone. It’s hard to believe that it’s 2009 already.

As one of my new year’s resolutions, I’ve committed to creating a blog to share my thoughts on the DC theatre scene. I try to see just about every production that originates in the metro DC area, as well as most shows that travel through. Throughout the year, I will report on shows that I see, in DC, New York (both on and off Broadway), as well as anything I see when I travel. Occasionally, you might also see a review or comment about other cultural happenings—movies or art shows. But mostly this is about theatre.

But don't expect to see a daily entry. I've created this site as a place to share my opinions of the shows I see. If I don't see anything, you probably won't hear from me. But stay tuned and check back or subscribe.

As a former stage manager, I worked in professional theatre for years. I’m no longer in the biz, which means that now I actually get to go to the theatre. Working in the theatre creates a bit of a dilemma. When you are doing a show, you never get to SEE a show. When you are running eight shows a week, you are working when other shows are in performance. As a theatre professional, free nights or weekends are rare. And when you do have one, the last thing you want to do is sit in a dark theatre. While it is a wonderful life, it certainly has its drawbacks. So, after I grew tired of packing for three seasons at a time, I hung up my headset and moved into the corporate world.

That of course, means that I now have the great opportunity to see great performances and shows. And see shows I do!

I hope that you enjoy my rantings, musings, and reviews of what I see.