Everyone's Favourite Bathhouse!

I did myself a favor and went to see the new revival of Terrance McNally's The Ritz on Friday. I had no prior experience with this play, but I think that was a good thing, because I didn't have anything to compare it to. Now that I've said that, I found the play amusing and entertaining.

I am not really a play person, I have always been more attracted to musicals, but I can always go for a nice sexual farce every now and again. I can see how with the original 1975 production it was kind of ground breaking, showing a side of gay culture that not that many people got to see. Now the bathhouse thing is a bit disturbing now with the prevalence of AIDS and various other sexually transmitted diseases. But it is kind of jovial to look back at a time when people really didn't think about that kind of thing.

The plot is a little dated yes, but there were some updates to McNally's script like the fact that they took out most of the sexually transmitted disease references, which was a good move by director Joe Mantello(Wicked).

The basic plot outline is Man's in-laws hate him, dying father's last words are "Get Proclo" Man's brother in law is going to kill him, Man hides out in gay bathhouse. Man has intolerance for gay people, crazy over the top gay says something, man loves gays now, crazy bathhouse singer wants to be famous, crazy singers back up dancers trick her into thinking man is producer. Singer tries to jump man's bones, man freaks out, brother in law finds him, man dresses in drag, Man's brother in law is about to kill him, Man is like "I'll kill you" Man and Brother and law make up, the end. That is about it, simple plot a lot of running around on the set, the end.

Rosie Perez was great as crazy bathhouse singer Googie Gomez. A lot of times she spoke too fast and it was hard to understand her, but for the most part she was amazing. The best part of the show was Googie's night club act where she proceeded to sing a medley of some of the most random songs ever. Though in the second act her character kind of stalled, which I don't fault Ms. Perez for, that I blame on the direction and script writing.

Kevin Chamberlin is capable as Guy Proclo, though I would have liked to have seen a more believable character from Chamberlin, because I know he can do better. His character was pretty constant throughout the piece, all except for the weird self-realization that gays are normal moment in act one(which was kind of random and came out of nowhere and was in my humble opinion a bit preachy, they should have saved the realization moment for the end where it would have made more sense).

The most credit has to go to Brooks Ashmanskas who played Chris the over the hill gay man with a ferocious sexual appetite. By far the best written character, and the one who had the best part in the show. It is strange to think of F. Murray Abraham originating this role. Ashmanskas was brilliant and I would go see the show again to see his what I am hoping is at least a Tony nominated turn if not Tony winning.

The show is a massive undertaking which probably worked well when it opened in the 70's but seems a bit dated here. But in typical Roundabout fashion they know how to bring in big names and sustain your attention for the two hour performance. The only major complaint that I have was that the seats were too close together and that there was not enough leg room. I am a tall guy and am used to suffering for my hobby, but this was insane.

It's A Jolly Holiday With Mary

Having grown up with the Disney version of Mary Poppins, it seems only fitting that I should fly to the New Amsterdam Theater in the heart of Times Square to see the much anticipated stage adaptation.

The musical production which was a joint venture between two of theater's heaviest hitters Cameron Mackintosh(Les Miserables, Phantom of the Opera) and Disney Theatricals(The Lion King and Beauty and the Beast), is what it promised to be, a knock out production. The joint venture is a very odd one, considering that either production company could have managed the production on their own, but Cameron Mackintosh owned the rights to the stage adaptation(from the books) while Disney owned the classic songs(from the movie), they decided to morph the two together, and give audiences a more fleshed out Mary Poppins and Banks family.

As most of us know the story of Mary Poppins is a simple one, two children who cannot behave and who go through nannies like most of us go through undergarments, are trying on their parents last nerves. The children request what they would like in a nanny, and poof, Mary Poppins(played by the more than capable Ashley Brown) appears and let the fun begin. Mary teaches them lessons, they learn a little, become better people, find their parents love, and ta-da the story gets wrapped up in a lovely bow!

Credit must be given to Bob Crowley for his amazing sets. I am surprised that at the end of the show they didn't bring the set out for applause. It amazes me the things that they can do with sets. I was transported back to watching the movie when I was 8. But I guess that is what the show is supposed to do for you.

There was one scene that alluded to the darker tones of the book series by P.L. Travers. One in which Jane and Michael Banks are arguing over a toy and they rip the sleeve of the doll, and shove it in a doll house. All because they lost their temper. A creepy hand then comes out of the dollhouse and reaches for the children and soon a life size version of the doll comes out, and the children get put on trial for losing their temper. This scene could be frightening for children under the age of 4(probably why they are not allowed to come into the theater). But it is not as bad as some have made it out to be.

Ashley Brown is lovely as every one's favourite nanny. She does tend to do a Julie Andrews imitation, I am more partial to the UK original Laura Michelle Kelly who brought something original to the part. Gavin Lee is amazing as the chimney sweep Bert, managing to fill the shoes of Dick Van Dyke very nicely. The most impressive feat by Mr. Lee is the tap dance across the proscenium arch of the stage during the musical's best number "Step In Time."

Rebecca Luker is charming as Mrs. Banks, but I am not pleased with the direction that the book writer has taken her character. In the movie she was strong and a beacon for feminism when it was not deemed lady like. The stage Mrs. Banks seems to depend on her husband and places all her self-worth on being someone else's wife. This fact made most evident during the song "Being Mrs. Banks." She gives up her life as an actress to raise her family, and when her husband offers her the chance to go back to work, she smiles and says "I've found a better job, being a mother" *yawn* Whereas the movie pushed Mrs. Banks forward, the stage Mrs. Banks takes 300 steps backward and becomes a character that I ended up not admiring, and she's sending the wrong message to the thousands of children that have seen the show over the past year. "It's okay to stay at home and cook dinner and be passive and not speak for yourself." I am not knocking women who chose to stay at home and raise their families, but you shouldn't let yourself fall into the common stereotype of being the weaker sex.

The production numbers were amazing, and as I said before so were the sets. The production was family friendly and albeit some of the scenes were a tad scary for the younger set, I highly recommend this production.

Can You Hear The People Yawn

There are a few shows out there in the realm of theater that have a bizarre effect on people, no one knows why, people are just drawn to them like a magnet. Les Miserables, now enjoying a open ended "revival"(I use the term loosely) at the Broadhurst Theater, happens to be one of these shows.

The musical which is very loosely based on Victor Hugo's massive novel has a strange appeal that I have yet to understand. The whole show is filled with sentimental songs and emotionally maniplutative material. I went because it is one of those shows that you are supposed to see much like Phantom(which I will be seeing within the next month or so). But I could not get over how much of a letdown the show as a whole was. It was too dramatic and over the top, and we were supposed to feel bad for the characters and connect with them, but most of them left me feeling cold.

I also couldn't get over the fact of how the police officer Javert, could not let one stupid ass grudge go, he seemed too desperate, and when he offed himself at the end, I was glad to see his character be gone from the stage, I only wish he had done it sooner. And can someone please tell me how Jean Val Jean could keep getting out of being arrested? He would just be like "Oh I left the stove on, time to leave!" Whaaaaaa? The whole thing was too unbelievable and stupid that I was just waiting for his next excuse, and if Javert was so intent on capturing him, then why did he keep letting him go? Uh durrrrr, he's right there, it's not like he called you on the phone.

The performances were good, I have to give a huge props to Ivan Rutherford as Jean Val Jean, to sustain that level of performance night after night, amazing! His rendition of "Bring Him Home" was probably the highlight of the night. The whole cast deserved a round of applause, except for Ali Ewoldt as Cosette, her voice was grating and not up to par with the rest of the cast, and Ann Harada as Madame Thénardier, while I enjoyed her in Avenue Q, she was miscast here as the innkeepers wife.

Another plot nitpick was the fact that Cosette and Marius fell in love within two seconds, wtf? And the fact that Cosette was something like 8 when Jean Val Jean took her away, yet she seems to have amnesia and doesn't remember when he took her. Yeah I believe that, I remember stuff from when I was 4 how could I not remember a huge life changing event from when I was 8 or 9? Surely you jest! Also, why was there no explination about Gavaroche being Eponine's brother? Hurrrrrrrm?

The show was what it was supposed to be, big sets, big songs, big costumes, bit lighting, and a big disappointment, much like Wicked, the show is meant to be consumed like soda and not wine.

Super Secret Agent

I was fortunate enough to see a production of a wonderful new musical Sympathy Jones. Now after having seen Kate Shindle in Legally Blonde, I knew that I had to catch her in this new girl power musical. And although it's a work in progress, the pieces that are there already are great.

Sympathy Jones tells the story of a secretary at a spy agency called "The Agency" who wants nothing more than to be a super spy. Then one day when a fellow employee accidently leaves a "Top Secret" folder containing his latest assingment, she jumps into action and helps to unfurl a plot to freeze time and take over Washington DC.

The show was of course a workshop production, but despite some of it's obvious flaws, it has great potential, especially since the era of the "girl power" musical is coming to the forefront of musical theater. The songs were clever and catchy, and the plot was fun.

The performances were amazing, but special credit has to be given to Kate Shindle who belted the role as if she weren't doing 8 shows a week over at Legally Blonde. I am surprised that she could even manage to croak out a note after the vocally demanding "Legally Blonde Remix." If this does get a commercial production, they would be severly mistaken if they did not cast Miss Shindle in the role of Sympathy Jones.

I won't really delve into the bad stuff, because it was a festival show. But it does need some rewrites in order to make the show passable. But for what they have right now it's a good start.

We Love Spelling

I have already seen The 25th Annual Putnam County Spelling Bee, with most of the original cast, so I am always hesitant to see something with replacements, or in some cases can't wait to see something with replacements *coughMaryPoppinssansAshelyBrowncough*. But I was pleasantly surprised with the new cast of Spelling Bee.

Most of the cast hails from the shows first national tour, so they are no strangers to the roles they are now portraying on the Broadway stage. And in some cases some of the cast brings something new to the role that I had not seen with previous cast members. Stanley Bahorek as Leaf Coneybear brings more of a space cadet quality to the role than did he predecessors Barrett Foa and Jesse Tyler Ferguson. Granted Leaf is the type of character that could be overplayed very easily, and Mr. Bahorek brings a level of goofiness to the role that is not over nor underplayed, but played to perfection.

Other cast standouts are Sara Inbar as Logainne Schwartzandgrubiennaire, her performance was the most striking to me. She had a great stage presence and it surprised me to find out that she was getting her Masters in teaching from Columbia University's Teaching College. I guess being uber talented doesn't always mean that you will find steady work as an actor and she is getting her teaching degree so that she can continue to inspire others to pursue greatness. Wow that last line was really hokey I apologize to my few readers out there for that lapse of judgement and corniness.

Aaron J. Albano is good as Chip Tolentino the young speller with an "Unfortunate Erection" but his voice lacks the power and umph that Jose Llana's did. But his performance was enjoyable nonetheless. The same could be said for Jenni Barber the show's new Olive Ostrovsky. Her portrayal was sweet, but almost too sweet to handle the vocal demands. There were times during the show where I couldn't hear anything she was singing/saying. Jared Gertner as William Barfee was amazing, I think this may be one of those parts that is written so well that it is almost actor proof, but he brought something new to the role, his Barfee was less annoying and more funny than the previous incarnations I have seen. And Greta Lee as the overachiever Marcy Park was good, but lacked the certain vocal punch that is required for her song "I Speak Six Languages" but gave an otherwise amazing performance.

Spelling Bee seems to be one of those shows that doesn't need to have big names in it for it to be a continued success. Granted it's not selling out anymore, but I don't think that it's on it's last legs either.

I do have a couple bones to pick with this show though. 1. Whomever is playing Mitch Mahoney, the Comfort counselor, he needs to lay off on the riffing and just let William Finn's score speak for itself. This is most evident in "The I Love You Song" he freaked out riffing and messed up the entire tonality of the song. 2. "The I Love You Song" can someone please tell me why this song is in the show? The show is riding high on laughs, then BAM! sadness times 20. It kind of brings down the whole mood of the show. Granted as a stand-alone number the song is beautiful, but within the confines of the show it tends to baffle and confuse the audience.

Overall I say the new cast that inhabits the "gym" of the Spelling Bee is more than capable of handling the show, and I hope to see the show run for at least another couple of years.

I Am Wal-Mart?

Walmartopia the new musical which made it's preimere at The New York Musical Theater Festival, has undergone a makeover and is now in an open-ended commercial run at off-Broadway's Minetta Lane Theater. I loved the concept of the musical, but there was something not quite right about the production. The songs were there as was the talent, but it seemed to drag on and on. I found myself looking at the program wanting to know what the next song was, not because I loved the score, which for the most part was passable, but because I was counting down the songs until both intermission, and the final bow.

Walmartopia is the story of a mother(Vicki) and daughter(Maia). A mother who works at Wal-Mart, and keeps getting passed up for promotions to her male counterparts, something that actually happens and Wal-Mart has been sued for. She is so grossly underpaid that she and her daughter, whom also happens to work at Wal-Mart for the summer, have to be on welfare and the state health insurance program because they cannot afford Wal-Mart's health insurance, oh yeah and did I mention they live in a hotel? When there are rumblings of a union organization starting to take place, Vicki not wanting to ruffle any feathers warns her daughter not to get involved. Vicki then goes to meet with her manager only to find out that she is being passed up once again by a younger male co-worker. Wah wah, such is the tragedy of her life, you'd think for as good of a worker as she is, she would be able to find a job somewhere at a Target, or even a Starbucks(where they pay your health insurance, and pay you more an hour). But no she submits herself to the torture of working at Wal-Mart. Vicki kind of reaching the point where she has had enough decides to join the union movement at her store.

The story gets even weirder when Vicky and Maia get picked to be in a paegent to represent the women of Wal-Mart, a PR move to focus their attention away from their impending sexual discrimination suit. *Yawn* Anyway, they have a chance to talk with the Wal-Mart Chairman of the Board, Mr. Smiley(clever I know), about forming a union at Wal-Mart. Then they see the head of Sam Walton which can talk and is attached to a moving wheelchair unit. Yep I just typed that, Sam Walton's head. They get thrown into the future to prevent them from talking. They arrive 35 years in the future where Wal-Mart is supreme ruler of the world, except for in Vermont which has declaired itself a historic preservation zone to prevent Wal-Mart from coming in to build.

Vicki and Maia both get thrown into Prison-Mart(very uncreative) and then meet a prisioner Zeb, who works for Wal-Arts(Yawn), which produces all forms of entertainment in Walmartopia. He convinces the artistic director to give them a job as actors in Wal-Arts' newest production, about support for the war in Vermont. Wah wah. Maia speaks out and gets thrown back into prison, and Vicki gets worried because she doesn't want to ruffle feathers again. Long story short, very short, Vicki gets over caring about not causing a stir and starts fighting for herself, she then speaks out against the evil voices in Walmartopia and leads people to follow their dreams, which shatters Wal-Marts hold on the them. Vicki and Maia stay in the future and lead a crusade against Wal-Marts worldwide. Yay for happy endings!

The score was good, but some songs needed to be cut. It was almost a contrast to the book of the musical because of the fact that all the songs were soulful and belty for the most part and I wanted something comic and light. I mean I liked the score as a stand-alone piece but not in relation to the musical. The book was full of lame jokes that missed more than they scored. The most I laughed all night was when Vicki messed up one of her lines during the lead-in for a song.

The performers talents were wasted on this show. It was lacking so much for something with so much potential. I guess this new commercial production did what most of us do growing up, we don't live up to our potential. I went in with high hopes but they were not upheld. Go see Walmartopia if you are mindless, but don't see it if you like being entertained. It does look like the official website is no longer up and running, so it leads me to believe that the show will be closing sooner than opposed to later.

Toledo Surprise . . .

I think in opting to see The Drowsy Chaperone as late as I did was a slight disadvantage to me. It was one of those shows that was on my "to see" list, but then other things came out that I wanted to see more, and well, I finally got around to seeing it, and after much fanfare and hooplah, I was severely disappointed.

For a show that has all the potential in the world with the right cast, can someone please tell me why the producers decided to cast Mari Davi as Janet Van De Graaf? She lacks a certain star quality that the role should posses. But I guess a lot of a show depends on it's performers. Where as some shows such as Les Miserables and Phantom of the Opera can run forever, changing casts more often than some people change their underwear, and it still manages to sell out, the same cannot be said for The Drowsy Chaperone; which seems to be on it's last legs.

Ms. Davi is not a terrible performer, but she is not suited as the leading lady of this show. She would have fared far better as a chorus girl. Some people are meant for bigger and better things than the chorus, others are not. Her Janet was well acted and sweetly sung, but there needed to be something more substantial there in order for the audience to relate to her and like her as a character. There were parts of the show that I knew were supposed to be funny, but unlike Sutton Foster, Ms. Davi lacks impeccable comic timing, which is required for the role.

But thankfully if you do end up making the mistake of seeing Drowsy, you can see Beth Leavel as The Drowsy Chaparone, the role that won her a much deserved Tony, and you'll be able to see Danny Burstein as Aldolpho. Both performers were standouts and made the evening enjoyable. Ms. Leavel's rousing anthem "As We Stumble Along" was the shows highlight. And Mr. Burstein's "I Am Aldolpho" was a comic masterpiece.

Jason and Garth Kravits as the Gangsters were amusing. As were Gerry Vichi and Jennifer Smith as Feldzig and Kitty.

The standout of the show had to be Patrick Wetzel whom as an understudy mastered the role of Man in Chair. I was glad that I got to see his performance as Man in Chair, because it was so genuine and made elements of the show that I didn't like more fun. I kind of wish he would go on every night. He was great and I hope to see him in more things in the future.

Jo Anne Worley was kind of disappointing as Mrs. Tottendale, a part that I don't like much, but was hoping for something great from Ms. Worley. I feel that she would have made a better Chaparone, because it seemed as though she was miscast.

Overall it was not a terrible production. but like so many that occupy the Marquis Theater, require star power. And that was something that this show was lacking.