Charm City Call Board - April 2007

By: Apr. 24, 2007
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Please see the May 2007 Call Board for current show information.  Articles of lasting importance are below.  If you have some news or an event you'd like added, please contact me at jameshoward@broadwayworld.com.  The Call Board will be updated as necessary and will be at the top of the page each Tuesday.  So visit the page often!  Thanks!

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→READERS WRITE - A FEW THOUGHTS ON SWEET CHARITY!

Several of you have written asking about where my review for Sweet Charity is.  Well, I had a family crisis that took me out of town for a week, and I really haven't had time to do a full out review.  And no, I am not under any obligation to favorably review every production that plays at the Hippodrome!  (Those of you who know me know how ridiculous THAT is!)  Anyway, based on your questions, I'll give you my two cents worth.

  • The quality of Molly Ringwald: She is a very talented actress who acts the role beautifully - just the right balance of optimism, street smarts and naivete.  She also sings very well - in character.  The role has NEVER required a singer that can handle Eponine or Elphaba style histrionics.  Again, she is acting as she sings - a real gift that is notably missing from many contemporary performances.  And remember, Gwen Verdon didn't exactly have a great singing voice, she also acted the part.  Molly was particulary funny in the "closet scene" and in the elevator with Oscar. (Left)
  • The quality of Guy Adkins: Mr. Adkins (Center) is a gifted actor and physical comedian.  He has created a full character and a memorable one.  NOTE TO TR from Fallston: I interviewed the man, but I am not required to like his work.  But I will say I loved his work here.  His take on the elevator scene stopped the show, and rightfully so.  It was one of the few times the real fun of the piece came through.
  • The dancing:  Much has been made of Ms. Ringwald's lack of ability in this area.  Well, it is true, she's no Gwen Verdon or Ann Reinking, but she doesn't embarrass herself in any way.  And as far as the much discussed exit during "I'm A Brass Band", that and several other instances only makes her look worse, they don't spare her.  That I blame on a lack of directorial creativity.  I think the directorial and choregraphic choices made throughout the entire performance are questionable at best.  They should have recreated the Fosse choreography. (Right)
  • Wayne Cilento: His jerky, arythmic style of choregraphy fit The Who's Tommy.  In fact, there it was brilliant.  But his "style" doesn't hold up like the signature moves of Bob Fosse or Tommy Tune or Michael Bennett (all of whom he has worked with, by the way).  I found the choreography in Charity to be lackluster to the point of simply filling space.  Also, it reminds me a lot of people being shocked unwillingly as they walk around.
  • The sets and costumes: UGLY and unnecessarily dark.  William Ivey Long must have been out of the country when they put that horrible dress on Molly.  (Notice the press photos have her in a different red dress!)
  • Overall:  They should have left well enough alone.  Some older shows can be redone to focus on the darker elements in the script (Cabaret, Chicago), but Sweet Charity is a fun, optimistic take on the turbulent 60's that were going on when it opened.  It was a fable/fairy tale.  But this revival has tried to make a lot of it dark and seedy.  Witness the mess thay made of "The Rhythm of Life", not to mention the durge-like tempos and virtual lack of brass in the orchestration.

A loyal reader (KMK) put the whole thing into perspective like this: "I've always thought that you can tell if Charity and Oscar are being played correctly if you feel for them both in the final scene, and understand both of their points of view." Ms Ringwald and Mr. Adkins do just that.  I couldn't agree more! (Photos by Craig Schwartz)

→WHERE ARE THEY NOW?  3 ACTORS IN HIGH PROFILE OPENINGS!

Last month, the Call Board featured an article about what actors who have appeared in Baltimore are doing currently.  Many of you seemed to enjoy that.  So, this week, I am spotlighting 3 actors who have made high profile openings recently.

 

  • Joseph Mahowald, CENTERSTAGE's Sweeney Todd: Mahowald recently opened in The Pirate Queen, a new musical from the creators of Les Miserables, Miss Saigon and Riverdance.  Here, he played the razor-weilding barber in Sweeney Todd at CENTERSTAGE.  The Pirate Queen plays Broadway's Hilton Theatre. (PHOTO LEFT)
  • Darcie Roberts, Hippodrome, Thoroughly Modern Millie: Here, Ms. Roberts played the title role in Millie with gusto and to rave reviews.  She just opened in Curtains the new musical from Kander and Ebb, starring Debra Monk and David Hyde Pierce.  Curtains plays Broadway's Al Hirshfeld Theatre. (PHOTO CENTER)
  • Bryan McElroy, Hippodrome, Thoroughly Modern Millie:  Mr. McElroy played Jimmy to Ms. Roberts' Millie when that show came here during the national tour in 2005.  Mr. McElroy recently joined the cast of the long-running Off-Broadway hit musical, I Love You, You're Perfect, Now Change.  This marks his New York debut.  The show plays at the Westside Theatre in New York City. (PHOTO RIGHT)

→RADIO GOLF PREPARES FOR BROADWAY OPENING; MANY FROM CENTERSTAGE PRODUCTION FEATURED!

 

Radio Golf, the final play in the late August Wilson 20th Century series, played here to much acclaim last season at CENTERSTAGE.  At long last, this wonderful play will be making its Broadway debut!  The play begins previews at the Cort Theatre in New York on April 20th, with an opening scheduled for May 8th.  The cast features Tony-winner Tonya Pinkins and Broadway newcomer Harry Lennix, who are the only ones not to appear here in Baltimore.

CENTERSTAGE cast members opening in the show are : Anthony Chisholm, John Earl Jelks and James A. Williams.  All three have played the show at various stages in its journey to Broadway.  Director Kenny Leon and nearly the entire CENTERSTAGE design team of Donald Holder (lighting), David Gallo (scenic design) and Suan Hilferty (costumes) also have made the trip from Baltimore to Broadway.

PHOTO: Radio Golf at CENTERSTAGE James A. Williams and John Earl Jelks.

→COCKPIT-IN-COURT ANNOUNCES SUMMER 2007 SEASON! (NEW!  04/03/2007)

 

Cockpit-in-Court, at CCBC Essex will present its annual slate of summer shows, which were recently announced,  They are:

  • High Society, June 16 - July 1 on the Mainstage
  • Songs for a New World, June 22 - July 1 in the Upstairs Cabaret
  • AIDA, July 20 - August 5 on the Mainstage
  • The Foreigner, July 27 - August 5 in the Upstairs Cabaret

For more information visit www.ccbc.edu.  Click on the Performing Arts button.

 



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