My Passion Review at the Chicago Shakespeare Theatre

[Mister Matt]

Posted: 10/15/07 at 12:39pm

Saw the show yesterday and was very disappointed. While I enjoyed Griffin's direction for Pacific Overtures and A Little Night Music, it appeared he was simply painting by numbers with little-to-no "passion". While we are provided with the skeletal framework of staging the show in a way that makes good use of the space, it seems Griffin stopped there and left us with no meat on the bones. The opening pretty much set the tone for the entire show. Clara and Giorgio are seen in a frozen tableu of sexual frenzy completely nude as the orchestra plays the startling chord which melts into a post-coital bliss of relaxation. During the entire first number, Giorgio and Clara are quite obviously fighting to cover their bits with the bedsheet, which unintentionally becomes the third character to perform in this duet. The dance of the sheets is far more distracting than any flash of nudity could have been considering 1) we just saw them naked, so the mystery is gone and 2) the song basically repeats the same sentiment of how happy they are over and over again. It's not like we're going to miss any key plot points here due to a bare boobie. And from this point, the show remains firmly on its plateau of "now that we've finished blocking, we'll just do run-throughs until we open". The insufferable fate of most amateur productions.

Gasteyer's Fosca, while handling the vocals beautifully, never goes beyond the most basic charicature of Fosca. Her forced physicality and makeup suggest that she is ill and unattractive, but her acting never appears to have any truth behind it. She can express the basic emotions, but they never seem supported with any thought process or truth that provides the emotional arc of the character. Fosca is at turns, ill, angry, frightened, and upset, but missing is the soft touch of someone who has any capability of truly loving someone in a selfless way. Thus, Giorgio's compassion and eventual attraction to her is confusing and unrealistic. This Fosca is sharp, abrasive, selfish and completely unlikeable. So why are we supposed to care about her? It's hard enough to find pity for her until her background is revealed, much less compassion.

Brazier's Giorgio was not much better. Quite often, he would relax into more contemporary vocal and physical expression that would only highlight the immaturity of his peformance. He was the only cast member who couldn't project, forcing the audience to strain to hear anything he sang when more than one instrument was playing in the modest orchestra, turning the opening number almost into a solo for Clara. Like Gasteyer, he was serviceable in giving us the required emotions from scene to scene, but failed to connect the dots to create an entire emotional and intellectual journey. In the pivotal scene where Giorgio and Clara are forced to evaluate the future of their relationship, Brazier lacked the realization and, more important, acceptance of Fosca's philosophy, which is key to all the following scenes thereafter. They simply played out as episodic scenes bearing little-to-no relationship with each other like paragraphs torn from Cliff notes chapter summaries, completely devoid of subtext. It didn't help that he flubbed several lines, which is forgiveable, but painfully distracting in a piece such as this.

Voytko gave possibly the most textured performance in the rather underappreciated role of Clara. While her journey is shorter than those of Fosca and Giorgio, Voytko told Clara's story richly, leading us through the classic stages of a clandestine relationship and its inevitable conclusion. Her intermittent appearances effortlessly and seamlessly guided us through the tour of her relationship with Giorgio. Which only made the rest of the show appear that much more painfully choppy.

The rest of the ensemble was pretty strong, when the soldiers could get the choreography together. The orchestra was sublime and the singing was mostly excellent. But I think the production can be best summed up by a line of Colonel Ricci's. Just because the show is delivered with all the nuance of a military handbook doesn't mean we should welcome anything in print. Sondheim fanatics will no doubt applaud the production merely for being produced, but those unfamiliar with the show may be a bit bored and baffled by this particular offering.

Posted: 10/15/07 at 12:53pm

Chris Jones of the Tribune (Who for my money is THE BEST reviewer & theater columnist in Chicago) gives it a mixed overall but loves Gasteyer. Already the Ana hate is building on the Comments board- I still giggle when people accuse her of being a "Name" who gets cast because of her fame! She's far more famous here for Wicked than she ever was for SNL!
Theater Loop

[Mister Matt]

Posted: 10/15/07 at 1:36pm

Gasteyer, whose intense performance is the best thing about this show, doesn’t fall off anything without offering a full, emotional dramatization at some demonstrable cost to herself. And while her Fosca will surely strike Sondheim purists as vocally (and otherwise) unconventional, it’s a rich, consuming and powerfully affecting performance. And it feels both fresh and off-beat in that revisionist fashion that we associate with Griffin’s best work.

Wish I could have seen that performance. Might I add that Fosca's off-stage screams are so brief and banal, you would think she merely stubbed her toe on a platform on the way to the stage. It sounded like a cry of minor pain and frustration rather than the uncontrollable spasms of an acute fatal chronic (yet unidentifiable) illness. The first one ellicited laughter from the audience. And not the embarrassed nervous giggle, but actual laughter as if it were a sight gag in a Zucker brothers film.

One rather tacky scene (in an otherwise classy show) where Brazier writhes in solo passion on his bed isn’t even remotely credible.

Oh God, I had forgotten about that. The nightmare ballet during Giorgio's feverish stint after the duel. It was actually meticulously choreographed to the music with cloying arms reaching out, animalistic pelvic thrusts of intercourse, and the signature Michael Jackson crotch grab. It was the single most embarrassing moment in the show. But certainly not the only embarrassing moment.

Voytko, though, positively throbs with beauty and vitality. In fact, her Clara is so sympathetic by the end, it actually changes the usual symmetries of the piece, which perhaps undermines the intended climax, but still adds a great deal of interest.

I totally agree with his summation of Voytko, but it only reinforces my opinion of Gasteyer's performance, to which I place most of the blame on Griffin's inferior direction. The mistakes he made were sloppy and glaringly obvious.

[kelzama]

Posted: 10/15/07 at 1:59pm

Funny, isn't it, how two people can see the same production and come away with two totally different opinions? I saw it Sat eve.

Passion will never be a favorite show of mine. Not like you can hum the tunes (let alone tap your foot in time with the music) or that you'll walk away feeling lighthearted and happy. But this production was intense and riveting.

Having seen the show (OBC & others), I found the small theater a perfect location for the intensity of the story. The opening tableau of the lovers entwined behind a sheet and dappled in soft blue light sets the discomfort for the rest of the piece. I didn't notice distracting sheet pulling, although Clara clearly sported a g-string.

Gasteyer's Fosca was nuanced and subtle. The layers she added to the character brought a pathetic desperation to Fosca's situation. I found the naivete, almost an innocence that defied Fosca's tormented past, an effective tool to drive her obsessions. Gasteyer's voice, while not as powerful as Voytko's, served her character well.

Brazier's youthful appearance enhanced his performance. He didn't seem the war-hardened, world-wizened man; rather, one trying to find his way, making the end plausible. Vocals seemed balanced the night I saw the show. I didn't care much for the nightmare staging, although his nervous breakdown after the duel was terrific.

Voytko shined. Her Clara was the first who seemed genuinely torn between love and duty, a choice that a more seasoned military officer would (should?) understand, which made her torment all the more palpable.

The soldiers were alternately humorous and smarmy. The harmonies were spot-on. Many of their entrances were made through the center aisle, and having the powerful voices belting, blending right there beside me was phenomenal. Loved Mike Nussbaum's Doctor (such subtle grandfatherly manipulation!) and Kevin Gudahl's Colonel Ricci.

Costuming was detailed and beautiful, right down to Fosca's thinning, greasy hair, Clara's tiny corseted waist, and the soldiers in blue & red wool uniforms. The orchestra, tucked in the recesses of the upper balcony, sounded wonderful, never overpowering the unamplified players (a treat in itself).

My favorite show? Far from it. But, in spite of its flaws, this interpretation of Passion was one of the best.
Updated On: 10/15/07 at 01:59 PM

[Mister Matt]

Posted: 10/15/07 at 2:43pm

I don't know. Maybe I attended an off day for Gasteyer, but there were only a couple of fleeting moments of nuance and subtlety when I attended. Namely the in the letter scene where Giorgio declares "there's nothing between us" and in Fosca's participation telling her history. Outside of that, what I witnessed was Ana's effort at portraying Fosca, rather than watching Fosca. I noticed the same thing in Wicked. Like her open-mouthed fluttering jaw in moments of anxiety. It's a cliched and disingenuous physicality that is meant to cartoonishly convey an emotion, but never actually seen in moments of genuine emotion. It's like I can hear her saying, "You'll know when I'm scared, because I'll do this. When I'm mad, I'll go like this. And when I'm sad, I'll do this". I felt like I could actually see her reaching into her emotional tackle-box to choose the correct physical lure. The problem was, I wasn't biting.

I am a fan of the show (it's probably my favorite Sondheim piece) and have seen several productions, which is probably why I was so disappointed. It's an incredibly difficult piece to pull off and to me, much of the required homework behind this production had been skipped. The only intense and riveting scenes I noticed were mostly Clara's, with the exception of the sheet dance at the beginning. The constant fidgeting to cover themselves was so hugely distracting. Even my friends commented on it, neither of whom knew anything about the show. Unfortunately, they were far more damning of the show than I was. And these are not closed-minded naive newbies. They hated it.

[Ed_Mottershead]

Posted: 10/15/07 at 3:26pm

Pray to God that no one gets the horrible idea of reviving this dreary piece on Broadway. No one liked it the first time (except the die-hard Sondheimites, and even they carped about it). My nomination for Sondheim's WORST show ever.

[Mister Matt]

Posted: 10/15/07 at 4:15pm

I'm not a die-hard Sondheim-ite, but I love the show. Just not this production. Certainly a lot better than Frogs and Bounce, which are my nominations for Sondheim's worst.

[BobbyBubby]

Posted: 10/15/07 at 4:58pm

I love her, but you couldn't pay me enough money to sit through her Fosca.

[chinkie azn jai]

Posted: 10/15/07 at 5:49pm

"This Fosca is sharp, abrasive, selfish and completely unlikeable. So why are we supposed to care about her? It's hard enough to find pity for her until her background is revealed, much less compassion."

I agree, I thought Ana played the role a little too mean and selfish, which gave not much reason to feel sorry for her. I also think that Kathy's Clara was the highlight of the show

Maybe it was because I sat in the balcony, but all the movement through the balcony was distracting. Everytime the soldiers went by, the balcony shook. Everytime Clara went by, her dress would brush against the wall which caused an annoying sound. However, I don't know how else they would have got to the balcony part of the stage any other way.

[FranzRelax]

Posted: 10/15/07 at 6:24pm

y. No one liked it the first time (except the die-hard Sondheimites, and even they carped about it).


- Hmm. The Tony voters only gave it 4 Tonys including Best Musical. So I guess they didn't like it either.

[mikem]

Posted: 10/15/07 at 6:28pm

Has anyone tried to stage door the show? I would love to meet Ana Gasteyer.

[jpbran]

Posted: 10/15/07 at 6:29pm

"Fosca, Fosca, Fosca! Stupid, ugly Fosca!"

(to the tune of "Sorority Girls from Hell")

[chinkie azn jai]

Posted: 10/15/07 at 6:31pm

I met Ana, Kathy, and Adam after the show on Saturday after the 8pm show. There is no stage door. Just wait in the lobby just outside the doors that go into the auditorium. I asked the house manager (I think) and he told me he would tell stage management that I would be waiting. So, I don't know if that had any effect or if they go out that way all the time.

[The Distinctive Baritone]

Posted: 10/15/07 at 7:33pm

Based on the couple of short clips I've heard of Gastayer's singing in the role (the clips are coupled with Chris Jones' Tribune review on the website), she didn't sound very impressive. She proved in Wicked that she can belt, but her voice doesn't seem rich enough to handle "legit" singing in a Sondheim show.

BTW, the show was not "Jeff recommended," which is a pretty big slap in the face considering the pedigree of those involved in the production.

[Mister Matt]

Posted: 10/15/07 at 7:50pm

BTW, the show was not "Jeff recommended," which is a pretty big slap in the face considering the pedigree of those involved in the production.

I've never found that to be any indicator of a production's quality, but it's not Matt recommended, either. But I will say that Gasteyer's voice was the best part of her performance. I noticed immediately that her voice had improved wince Wicked.

[Eos]

Posted: 10/15/07 at 8:56pm

I saw the show Saturday night too, and although I'd agree with Mister Matt's opinion about Fosca's off-stage screams (not as disturbing as I was expecting), I really enjoyed it.
This was my first time seeing it, but I can see how nuances in any one of the 3 main characters could really change the dynamic of the show. Gasteyer's Fosca left me feeling very sympathetic towards her. I didn't think she was abrasive at all, just bitter.
I was in the front row, and the opening "boob" shot took me by surprise.

[ray-andallthatjazz86]

Posted: 10/15/07 at 10:42pm

I enjoyed the clips from the review. I was actually considering flying out to Chicago to see this, but I decided not to. Honestly, maybe I'm just silly but from all the Foscas I have heard (just about four), no one seems to even remotely touch Donna Murphy's exquisite performance.

[Eos]

Posted: 10/15/07 at 10:44pm

Fly out anyway, and see The Sparrow! Not shilling, just very impressed with that show. Sorry for the momentary threadjack.

[SporkGoddess]

Posted: 10/15/07 at 10:51pm

This is making me feel a little better about not being able to see it. My sister lives in Chicago, but she wasn't sold on the show, so we never had any plans finalized for me to go down there.

Updated On: 10/15/07 at 10:51 PM

[Phyllis Rogers Stone]

Posted: 10/15/07 at 11:22pm

I'm seeing it on Thursday.

[Popular]

Posted: 10/16/07 at 1:58am

Go, Kathy, Go! :)
VIDEO CLIP

[buffyactsing]

Posted: 10/16/07 at 2:33am

Thanks for the clip Popular. Ok...this is just judging for the two little clips I've seen. Odd, Kathy really is the one during that clip of the garden sequence that really seemed more than a "college performance". Giorgio was unfocused and seemed somewhat...modern? and both he and Ana didn't seem to have...I don't know. I'm not sure whether it's that Ana has to settle into the role...she's a very talented comedic actress...I think she could do better. Her Fosca seems very...angry and snappy. Interesting choice. It does make it harder for her though. I'm missing the "connection" to Giorgio though. She doesn't seem to be very obsessed with Giorgio in the way she claims which may make her later protestations of love seem insincere as they aren't in her acting.

No, I doubt anyone will come close to Donna Murphy...at least her "style" of Fosca. I do wonder if she was as brilliant her first few weeks though...the show was filmed at the end of over nearly 300 performances. Even if you compare the Tony clip of Passion to the later video, you can see such a strong difference. I know this is a limited engagement, but it's possible Ana will find more in Fosca in time.


Fosca is a tricky role, as are all the roles in Passion. The underdeveloped Giorgio has to bridge the gaps that are there in the script, Clara has to balance out whoever is playing Fosca and of course Fosca works best (IMHO) when utterly vulnerable like Donna Murphy. An earthquake of emotion. I think it makes Giorgio's turn at the end, more believable..."how quickly pity leads to love". Ana's Fosca seems somewhat hard to pity...but this is from a short clip.

Donna Murphy...her "I Read" is so breathtakingly intricate. I never understand how people can say actors like Murphy and Meryl Streep are "cogs" who just turn out they're acting step by step. I never realized creative a fully developed character was a bad thing?

I appreciate what Patti, and Ana and other performers (I've seen Judy Kuhn on a not so wonderful...not so legal...recording and while her take is different than Murphy's...not as outwardly emotional exactly, she did a fairly good job as well) it is a tough role to fill.

Wow that was longer than I intended.

[Eos]

Posted: 10/16/07 at 11:03am

buffyactsing-
I just watched those clips (you know where) of Donna Murphy et al. Now I really see what you're talking about. If I had seen that performance, I would have been in tears for sure.

[tgrabon]

Posted: 10/16/07 at 11:06am

Passion isn't one of my favorite musicals.
I saw Judy Kuhn's Fosca at the Kennedy Center's Sondheim Celebration in 2002.The show nicely done but I felt that the house was too large. I've only seen the Broadway Passion on DVD. Donna Murphy, Marin Mazzie, Jere Shea, the set, the lighting, and Clara's many gowns make it definitive. My third production was a preview at Chicago Shakespeare. The intimate setting in the tiny upstairs theatre is perfect for Passion. Eugene Lee's set is unfussy and just right for the space. Voytko's singing was gorgeous. Gasteyer rocked. I hated her and pitied her at the same time. Brazier needed to step up his performance to match these two ladies. I saw a preview and hopefully he did. The group of musicians did Sondheim proud. My only complaint was that Clara had very few gowns. She's well off and without the many costume changes we don't get that idea. I highly recommend this show.
While were on the subject of a Sondheim show. I would like to send out a message to all Chicago theatre groups (large and small): Please produce Sondheim's Follies. For crying out loud we've had productions/concerts of The Frogs, Anyone Can Whistle, even premieres of Saturday Night and Bounce. Sweeney Todd has been produced to death in Chicago. The Goodman, Ravinia, the big theatre at Chicago Shakespeare even Steppenwolf would all work for Follies. Get some frickin balls and lots of money and make it happen. Get Chicago area Director William Pullinsi to direct it. Unlike Matthew Warchus, Pullinsi understands the show. I saw it in the 1980's and 1990's at Candlelight and it was stunning. There. I feel better now that I got that off my chest.

[kelzama]

Posted: 10/16/07 at 11:14am

I saw Donna Murphy in the OBC, and I know that many hold her performance up as the pinnacle of Fosca. Her Fosca so very pathetic that I had no sympathy for her. Beautifully sung, wonderfully acted, but so dismal and depressed. Clara (I don't recall who played her at the show I saw) was portrayed in such a carefree manner that I couldn't figure out what Gorgio saw in either. What I liked about Gasteyer's Fosca was that she seemed real, potentially likable if not for the pain. As the show progressed, the wall softened as her desperation increased.