Review: 50 YEARS OF BROADWAY AT THE KENNEDY CENTER

Broadway fervor reignited as major Broadway musical talents converged at the Kennedy Center for an evening of musical pleasure and panache in the concert 50 Years of Broadway at the Kennedy Center. Musical selections from such Broadway staples such as Cabaret, West Side Story, Wicked, Follies, Funny Girl, Pippin, Les Misérables, Sunday in the Park with George, Annie, The Book of Mormon and other memorable musicals were performed with style and Broadway brio by a cast of accomplished musical theater professionals.

Broadway has had its share of "ups and downs" over the years, but it is decidedly on the rebound due in no small part to the Kennedy Center's showcasing of Broadway musicals forging their way to Broadway as well as their presenting many of the major popular Broadway classics and hits. During times of anxiety and stress, the healing balm Broadway musical song soothes yet also provokes the conscience with relevant lyrics and probing melodies.

This "bound to be legendary" concert encompassed so many facets of the Broadway musical within a little over two hours' time ---legendary showstoppers belted with verve, ballads sung with sensitivity, and a finely wrought tribute to the late and esteemed composer-lyricist Stephen Sondheim.

Director Marc Bruni kept this star-studded concert afloat with expert pacing and a marked theatrical sensibility. One number after another whirled by with simulating show biz electricity or pensive longing as the mood demanded. Mr. Bruni was aided by choreographer JoAnn M. Hunter who displayed a very versatile command of the intricate dance steps throughout the various numbers.

Dance Ensemble members Michael Baerga, Sir Brock, Tony Meredith, Dave Schoonover, and Jacquez André Sims moved with élan in their singular dancing moves as well as with their synergistic dancing skills as an ensemble.

This exciting concert was full of highlights, starting with the agile and expressive Gavin Creel's rendition of Stephen Schwartz's "Corner of the Sky" from Pippin. Creel's voice soared with an ebullient and open warmth.

The talented Vanessa Williams entranced with a captivatingly seductive and pitch-perfect performance of "Hit me with a High Note" from Sophisticated Ladies. Williams is a true triple-threat talent and she danced up a storm here.

Sierra Boggess thrilled the audience with a highly enlivened rendition of the classic "I Could Have Danced All Night" from My Fair Lady. Boggess' vocal quality is almost ethereal in beauty and purity of tone.

Beth Leavel, Gavin Creel and Betsy Wolfe joined forces in the gleefully spiteful comedic gem "Easy Street" from Annie and it shone with an air of abandon.

"Maybe this Time" from Cabaret was delivered in a bold and brassy and style by Betsy Wolfe and it ended with a belting note to shake the rafters.

Frances Ruffelle sang her signature song (from Les Misérables), "On my Own" with her marvelous phrasing and a burnished tone that lent depth to this mesmerizing song. Ruffelle is a natural wonder of the Broadway stage and there is nobody else quite like her.

Les Misérables fans continued to be delighted with the appearance of the talented Norm Lewis. The rich, deep baritone of Lewis was expressively realized in his deeply probing rendition of "Stars". Lewis portrayed a soul alternately in torment yet still driven by unshakable conviction.

Norm Lewis aficionados were further treated to a splendid delivery of the hypnotic "Music of the Night" from the hit The Phantom of the Opera. Andrew Lloyd Webber's music enthralls in this popular musical standard.

Nostalgia for signature tunes played large as Andrea McCardle of Annie fame sang a rendition of "Tomorrow" that had the audience holding on to those future hopes. McArdle's tone has grown more mellow yet resonant over the years.

Nostalgia continued with the wonderfully animated and engaging Andrew Rannells singing the quirky and endearing "I Believe" from the hilarious hit The Book of Mormon.

Stephanie J. Block held the audience in the palm of her hand with a defiantly rousing rendition of "Defying Gravity" from the Stephen Schwartz hit Wicked.

The last third of the program was devoted primarily to the iconic and beloved composer -lyricist Stephen Sondheim. Interview clips and footage on the illustrious Sondheim were projected on the stage screen. (The Kennedy Center had justifiable critical applause for their Sondheim Celebration held in 2002).

Sondheim's "Some People" from Gypsy was given an earthy and relatable interpretation by the talented Beth Leavel. If they ever revive this musical again, the talented Leavel could easily take the helm.

"Buddy's Blues" is a song of myriad moods that proves elusive for some, but Tony Yazbeck sang the guts out of this psychologically searing song from Follies. Joining him were Beth Leavel and LaChanze in fine accompaniment.

Sondheim's introspective "Losing My Mind" from Follies was juxtaposed with "Not A Day Goes By" from Merrily We Roll Along in a duet delicately sung by Vanessa Williams and Sierra Boggess. (This stunning duet was originally sung on Broadway by Ms. Williams and the great Barbara Cook in the show Sondheim on Sondheim). Williams sang with clear control and acuity on "Losing my Mind" and Boggess sang with the sense of fatalism yet concurrent striving inherent in "Not A Day Goes By". This duet should be preserved as a touchstone for anyone who wants to understand why Sondheim's music is so emotionally affecting and treasured.

The inspiring "Wheels of a Dream" from the musical Ragtime helped to conclude the evening with stunning vocals by Norm Lewis and LaChanze.

"Somewhere" from West Side Story was a further call to inclusion with the concert performers singing respective lines from the song and then, merging for a collective curtain call with standing ovations and sustained applause.

The Kennedy Center Opera House Orchestra was a joy to hear ---as they lent their considerable skills to the Broadway milieu. The orchestra performed with a very full and resonant, robust sound befitting this concert---with especially ear-thrilling sounds on percussion and brass. Applause to Jay Crowder, Music Director, Musical Theater and Television and to Conductor and Musical Director Rob Berman. Particularly stirring was the Overture to Act One and the Overture from Merrily We Roll Along by Stephen Sondheim.

Scenic and Projection Design by Paul Tate dePoo Ⅲ was a visual feast ----the uppermost part of the stage displayed a visual proscenium with continually changing images and underneath the marvelous Kennedy Center Opera House Orchestra performed in a raised slightly encased platform for full viewing. The performers of the concert moved with creative ease in front of this well-conceived backdrop.

Lighting Design by Cory Pattak was evocative and often bathed the performers in striking shafts of white light and costume coordination by Alejo Vietti was obviously successful-----the outfits for the evening were sartorial visual delights.

The specifically unique yet universally appealing art form of the Broadway musical surges forward and the Kennedy Center is keeping the legacy of the Broadway Musical alive for future generations. This extraordinary concert is the embodiment of the Broadway Musical's potential and promise.

Running Time: Two Hours and fifteen minutes, including a 15-minute intermission.

50 Years of Broadway at the Kennedy Center was presented at 7:30pm at the Kennedy Center Opera House on February 11, 2022 and February 12, 2022. The Kennedy Center is located at 2700 F Street, NW, Washington, DC. Go online for information and tickets about upcoming events by clicking here.

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