Broadway Grosses: Week Ending 8/17 & Algonquin Round Table Quote of the Week

With clean-cut suburban dad Galt MacDermot composing a score that fused rock with funk, rockabilly and showtune, Hair premiered in 1967 with a 6-week stint as Joseph Papp's first Public Theater production and played briefly at a discotheque named Cheetah before making it to Broadway's Biltmore.  With more songs that have nothing to do with the plot than a typical 1930s Cole Porter musical and such thinly-developed characters that one of a cynical nature might refer to them as The Flesh Failures, Hair, in its time resembled the kind of rebellious vaudeville that recalled Marx Brothers anarchy at its most political.  (Although I doubt if Groucho ever said to an audience member, "Hey lady, will you hold my pants for me?"  Then again…)  But its playful comedy, as in a sweet ditty about air pollution, an angry list song about every derogatory name you could call a black person and a biting patriotic salute by the good citizens of Selma, Alabama, was balanced by gut-twisting and controversial moments like the public burning of draft cards by scared, but committed young men, a horrify drug-induced war fantasy and a rock funereal dirge that leads to an anguished plea for hope, "Let The Sun Shine In."

Today, once again being presented by The Public, but this time at Central Park's Delecorte Theatre (and with a revised script adapted from the original Off-Broadway text and the significantly different Broadway one), Hair is both an exhilarating reminder of a time when an optimistic youth believed it could bring peace and love to a violent world gone mad and a cute nostalgia trip where grandparents can take the kids to see what life was like when they were their age and tap their feet to catchy songs with lyrics like, "Black boys are delicious," "Masturbation can be fun," and (the positively brilliant) "Answer my weary query, Timothy Leary, dearie."

Director Diane Paulus' production, choreographed with more spirit than invention by Karole Armitage, may lack surprises, but there's plenty of fun and poignancy in her straightforward mounting that, despite some truly moving pictures, could stand a little more visual variety its group scenes.  The loose structure of Hair's often unrelated line-up of songs and routines can get a little tiresome by the middle of the second act without a director who can firmly hold our attention and keep the audience from checking their programs to see how many songs there are until, "Good Morning, Starshine."

But the summer's night sky over set designer Scott Pask's simple grassy stage, a little worse for wear with dirt patches, with music director Nadia Digiallonardo's 12-piece band rocking out upstage, is a downright magical setting for this festive evening of musical ritual.  The knockout cast sounds beautifully blended in their full-company vocals of shimmering compositions like the mystically moody "Aquarius" (led with the creamy-toned warmth of Patina Renea Miller), the merrily mod "Manchester, England," the grimly poetic "The Flesh Failures" and the wildly exuberant title song.

The uncomplicated naiveté of sweet-singing Jonathan Groff gives Claude a puppy-dog appeal that makes it unthinkable to hand a gun to this innocent and tell him to kill.  The charismatic Will Swenson gives Berger the confident swagger of an adolescent who hasn't accepted boundaries.  One of the musical's most noticeable weaknesses is the underdeveloped relationship between Berger and his college activist girlfriend Sheila, the only member of the tribe actually doing things to try and change the country for the better.  (After returning from the legendary anti-war protest where demonstrators tried to levitate The Pentagon, Shelia excitedly tells her friends, "You shoulda been there."  She's right.)  Caren Lyn Manuel gives the role a healthy dose of maturity and spunk and puts strong pipes behind a thrilling "Easy To Be Hard" when Berger's immaturity threatens their relationship.

Fine turns are also delivered by Bryce Ryness as Woof, who denies being gay despite a sexual obsession with Mick Jagger; Daurius Nichols, whose Hud relishes the uneasy effect his black skin has on white people; Kacie Sheik, who gets the biggest laugh of the night as the slightly air-headed Jeanie and the pairing of Megan Lawrence and Andrew Kober as Claude's antagonistic but genuinely loving parents.  Kober also scores with his rendition of "My Conviction," an anthropological waltz he chirps as a character named after Margaret Mead.

The tricky part about Hair, and this unavoidable in just about any theatre piece that is so of its time, is re-creating the sense of urgency that made its plea for peace so immediate 40 years ago.  Sure, you can say that once again we're in the middle of a seemingly endless and unpopular war, but it's just not the same without the threat of forced military service looming over every young American male's head.  And with nudity, cursing, racial epitaphs and distrusting the government so much more a part of our popular culture today than 40 years ago, the only thing left in Hair to shock a contemporary audience is the sight of a pregnant woman smoking pot.

But such matters are probably of little concern to the throngs who joyously accept the company's invitation to sing and dance with them on stage for an extended celebration at the show's conclusion.  Yesterday's perceived threat to society is once again today's family entertainment, and I'm sure the cute little girl who was happily bouncing on an actor's shoulders during the band's final blasts on the night I attended had a swell time.

Photos by Michal Daniel:  Top: Tommar Wilson, Will Swenson and Bryce Ryness; Bottom: Jonathan Groff and Company

Posted on: Monday, August 11, 2008 @ 03:52 AM Posted by: Michael Dale | Leave Feedback

All Singin' All Dancin'

Please forgive my delay, dear readers, in jotting down a few thoughts on the latest Scott Siegel enterprise, the second annual All Singin', All Dancin', which scorched the Town Hall stage last Monday night.  What with a bundle of new shows to take in since then (and a biggie opening up tonight) sometimes the task of summarizing a one-night-only revue has to be set aside briefly to write about new, longer-running productions.

But here we are, and once again Scott Siegel, his wife Barbara, and the crew of performers and musicians they've cultivated through the years have delivered a splendid concert of musical comedy.  This was a rare night where, in addition to his usual duties as writer and host, Siegel took it upon himself to direct.  But I'm sure he'll forgive me if I suggest his staging talents were put to minimal use as the bulk of the evening highlighted the exciting and diverse choreography of Josh Rhodes.  With material representing a grab bag of Broadway through decades stretching as far back as the 1920's, Rhodes created an impressive variety of lyric-centric routines.  Cole Porter's "Too Darn Hot" was danced by Lorin Latarro, Megan Sikora and Lisa Gajda with languid undulations while Kendrick Jones and Melinda Sullivan smacked the floor silly in a challenge tap that climaxed DeSylva, Brown and Henderson's "Varsity Drag."  Jones and Melinda Sullivan displayed a more sensual side of tapping while Natasha Williams warmed the stage with a mellow rendering of Kurt Weill and Ogden Nash's "Speak Low."  A very funny routine had a chorus of nerdy male dancers taking their best shots with the hot ladies they've found themselves accompanying on stalled subway train, singing Cy Coleman and Carolyn Leigh's "Real Live Girl."

William Michals, fresh from wowing the crowd at Siegel's A Night At The Operetta, did more of what he does best; thrilling audiences with a rich expressive baritone while relishing every note of Lerner and Loewe's "They Call The Wind Mariah" and cutting up in Cole Porter's "Where Is The Life That Late I Led?"  Late in the evening, the standby for Emile de Becque in the current South Pacific revival stood center stage without a microphone and drew enraptured cheers with the dramatic Rodgers and Hammerstein classic, "Some Enchanted Evening."

Alli Mauzey, whose hilarious performance of the Patsy Cline spoof, "Screw Loose" in Cry-Baby was one of the highlights of last season, displayed a more delicate soprano side with Jerry Herman's lovely ballad, "I Never Said 'I Love You'" and Maury Yeston's dramatic "Unusual Way."  The latter also featured Lorin Latarro, Michael Balderramo and Lisa Gajda in a ballet interpretation of the song's romantic triangle.  A comic scene had Mauzey playing a computer and cell phone obsessed go-getter, leading into a clever dance routine when her boyfriend, played by Shonn Wiley, tries to romance her with the Gershwins' "I'm Old Fashioned."  Wiley also had a funny song and dance routine accompanying Megan Sikora in the DeSylva, Brown and Henderson pacifist ditty, "Never Swat A Fly."

Cady Huffman was all musical comedy pizzazz with Cole Porter's "Always True To You In My Fashion," sizzled with heavily rhythmic jazz torchiness in a number she didn't sing in The Will Rogers Follies, Coleman, Comden and Green's "No Man Left For Me" and stretched her legit soprano muscles with Rupert Holmes' poetic "Moonfall."

Liz McCartney's soaring vocals embraced Tim Rice, Björn Ulvaeus and Benny Andersson's "Someone Else's Story" and she was all Broadway comic brass as the diva diner waitress in Stephen Schwartz's "It's An Art."

That last number, of course, is from the musical Working, based on the Studs Terkel book, which Schwartz created by recruiting various songwriters to contribute material.  Now in the process of revising the show, Schwartz asked Lin-Manuel Miranda to write a new song and the resulting "A Very Good Day" was premiered by Marie-France Arcilla and Christopher Jackson.  It's a bittersweet duet sung by a man hired to take care of someone's father in a nursing home and a woman working as a nanny for a young child.  As they build relationships with those they're paid to care for they wonder about the people who don't have time to do what they do.

With Fred Barton and Bruce Barnes skillfully sharing the music director hat, All Singin' All Dancin' was just another example of how musical theatre is alive and doing very well whenever Scott Siegel and his crew make Town Hall their home.

Photos by Genevieve Rafter Keddy:  Top: Megan Sikora Lisa Gajda and Lorin Latarro; Bottom: Cady Huffman

Posted on: Thursday, August 07, 2008 @ 10:35 AM Posted by: Michael Dale | Leave Feedback

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Buffalo Gal: You Oughta Be In Pictures

If the old chestnut about life imitating art doesn't cross your mind a couple of times during A.R. Gurney's new comedy, Buffalo Gal, you may want to make a copy of The Cherry Orchard part of your subway reading this week.  But brushing up your Chekhov isn't completely necessary to enjoy this funny little character study where the Russian playwright's story of the cultured aristocracy falling to the vulgar values of the middle class is replaced by a struggle for artistically conscious live theatre to survive while uninspired sitcoms rake in the bucks and offer immediate stardom.

In a sense, Gurney has cleverly made a cherry orchard out of a production of The Cherry Orchard.  Amanda (Susan Sullivan), an Oscar-nominated actress with a few Emmy Awards on her mantle, has been in a career rut lately and has returned to her hometown of Buffalo to appear as Madame Ranevskaya.  Another Buffalo gal, her director Jackie (Jennifer Regan), is happy to have her, for both the prestige it will bring to her theatre company and the chance to validate her career in the eyes of her girlfriend's kids.

But even though Amanda is so anxious to begin rehearsals that she's arrived a day early, her agent seems to be stalling on finalizing her contract.  There's the unresolved issue of Jackie wanting a guarantee she will not be replaced if the production moves to Broadway, but of more concern is the fact that the producers of a FOX sitcom Amanda rejected because the role they offered her seemed too ridiculous have been re-tooling the show into something that may be more to her liking.  The comparatively cushy TV job seems even more attractive to Amanda when she finds out her intended co-star, an actor she perhaps intented to be her security blanket as she returns to the stage, has left the project.  Not accustomed to colorblind casting, she grows more hesitant on finding out the actor replacing him in the role of her brother, Leonid, is black.

While the premise is surely interesting, the dialogue entertaining and director Mark Lamos' Primary Stages production, featuring a solid cast, is continually engrossing, Buffalo Gal remains too lightweight and predictable.  The supporting characters are pretty much regulated to playing one note.  James Waterston is the efficient stage manager who is there mostly for Jackie to sound off her concerns about Amanda.  Carmen M. Herlihy is the know-it-all intern who is too eager to impress.  Dathan B. Williams is the charming replacement actor who broadly schmeers on the elegance and Mark Blum is the star-struck friend from Amanda's past.  Regan gets maybe a note and a half as the underwritten Jackie, though her tough, realistic view of the theatre world provides a fine contrast to the romanticism surrounding her.

Sullivan, if not exactly provided with a symphony, has at least an intricate concerto to perform, with the ninety-minute play continually revolving around her.  She is quite effective as the actress who hides her insecurities with extravagant graciousness, deeply bowing to everyone she meets, declining the extravagances of a first class hotel room and a private limo, and nervously searching for an exit while assuring everyone she's delighted to be working with them.

Set designer Andrew Jackness and lighting designer Mary Louise Geiger plant us firmly into the nuts and bolts world of local theatre (a lovely backdrop of a cherry orchard hangs above the otherwise drab playing space) and the way Sullivan looks in costume designer Candice Donnelly's white Ranevskaya dress is enough to make you want to hop a plane to Buffalo and buy a ticket.

While not in the same class as Gurney's best work (Love Letters, The Dining Room…) Buffalo Gal still has many worthy moments of charm, grace and humor.  And I'm sure it's better than whatever's on FOX tonight.

Photo of Jennifer Regan and Susan Sullivan by James Leynse

Posted on: Wednesday, August 06, 2008 @ 10:56 AM Posted by: Michael Dale | Leave Feedback

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Animals Out Of Paper: Follow The Fold

Early arrivals to the McGinn/Cazale for Second Stage's Theatre Uptown production of Animals Out Of Paper can fill up their spare minutes by folding up a creation or two with the free origami paper made available in the lobby.  Or, if you're like me, just admire the pieces already on display.

There's also plenty to admire once you're inside the auditorium.  Rajiv Joseph's subtle exploration of the limits of artistic healing lying beneath a romantic comedy (and quite a funny one at that) is given a textured and very well acted mounting by director Giovanna Sardelli that glides steadily past some of the new work's trouble spots (some believability issues and a bit of an unsatisfactory ending) to charm and inspire.

Acclaimed origami artist Ilana (Kellie Overbey), living in her studio while in the midst of a divorce and heartbroken by presumed death of her lost three-legged lost dog, receives a surprise visit from Andy (Jeremy Shamos), treasurer of American Origami.  The shy Jeremy has developed a crush on Ilana from reading her book, the second-best seller ever about origami which, along with folding patterns, contains short personal essays.  A high school calculus teacher, Andy has come to ask her to consider mentoring his student, Suresh (Utkarsh Ambudkar), a troubled 17-year-old with an extraordinary talent for the art.  ("Suresh sees folds before they happen.")

Though Ilana is too busy getting her life in order and trying to design folding patterns for a "mesh heart sleeve," a medical device used to treat congestive heart failure by unfolding in the body and wrapping around the heart, she reconsiders her reluctance to mentor Suresh after reading a book Andy accidentally leaves in her studio.  It's a list he keeps of blessings in his life.  Thousands of them.  Touched by his sensitivity, the two start dating.

Ilana's tense relationship with the hip-hop loving Suresh (costume designer Amy Clark has some good fun with him), a brilliant, but undisciplined improviser whose only serious side comes out when taking care of his feeble father after the recent death of his mother, contrasts with the sweet and thoughtful way she's treated by nice guy Andy.  See enough romantic comedies and you'll know where this is going, but Joseph's story cleverly takes us to one or two unexpected places.

The cast is just terrific, particularly Shamos who adds another distinctive portrayal to his growing list of impressive New York performances.  You can barely see how his genial, always pleasant Andy is crumbling inside as he faces disappointment from the two people he loved the most.  Overbey's Ilana, a woman who carefully plans every fold in advance, masks a continual struggle to achieve the same kind of order in her life.  Ambudkar is particularly effective in a simple, but emotional scene where the young artist first experiences the way others respond to what he creates.

Also terrific is Beowulf Borritt's set, primarily used to depict Ilana's messy studio.  Exposed brick grows into walls made of large sheets of hanging paper and ominously hanging in the middle of the room is an enormous origami hawk.  The cast performs set changes in character, especially fun when Ambudkar's Suresh, jauntily struts the stage to clean up the extreme clutter of Ilana's studio.  The clutter inside the three characters is another story.

Photos by Joan Marcus:  Top: Jeremy Shamos; Bottom: Utkarsh Ambudkar and Kellie Overbey

Posted on: Tuesday, August 05, 2008 @ 10:57 AM Posted by: Michael Dale | Leave Feedback

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Broadway Grosses: Week Ending 8/3 & Algonquin Round Table Quote of the Week

Nothing risque, nothing gained.

-- Alexander Woollcott

The grosses are out for the week ending 8/3/2008 and we've got them all

right here in BroadwayWorld.com's grosses section.

Up for the week was: XANADU (13.2%), THE 39 STEPS (7.5%), THURGOOD (4.6%), RENT (4.1%), AVENUE Q (3.9%), GREASE (3.0%), TITLE OF SHOW (2.7%), BOEING-BOEING (2.2%), MARY POPPINS (2.0%), AUGUST: OSAGE COUNTY (1.3%), A CHORUS LINE (1.3%), SPAMALOT (0.9%), CHICAGO (0.4%),

Down for the week was: CIRQUE DREAMS: JUNGLE FANTASY (-7.2%), GYPSY (-5.6%), LEGALLY BLONDE (-2.3%), THE LITTLE MERMAID (-1.8%), IN THE HEIGHTS (-1.0%), HAIRSPRAY (-0.8%), THE PHANTOM OF THE OPERA (-0.7%), SOUTH PACIFIC (-0.3%),

Posted on: Monday, August 04, 2008 @ 05:48 PM Posted by: Michael Dale | Leave Feedback

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About Michael: After 20-odd years singing, dancing and acting in dinner theatres, summer stocks and the ever-popular audience participation murder mysteries (try improvising with audiences after they?ve had two hours of open bar), Michael Dale segued his theatrical ambitions into playwriting. The buildings which once housed the 5 Off-Off Broadway plays he penned have all been destroyed or turned into a Starbucks, but his name remains the answer to the trivia question, "Who wrote the official play of Babe Ruth's 100th Birthday?" He served as Artistic Director for The Play's The Thing Theatre Company, helping to bring free live theatre to underserved communities, and dabbled a bit in stage managing and in directing cabaret shows before answering the call (it was an email, actually) to become BroadwayWorld.com's first Chief Theatre Critic. While not attending shows Michael can be seen at Shea Stadium pleading for the Mets to stop imploding. Likes: Strong book musicals and ambitious new works. Dislikes: Unprepared celebrities making their stage acting debuts by starring on Broadway and weak bullpens.