CD REVIEW: Catch Me If You Can

My favorite musical of the 2010 - 2011 season, Catch Me If You Can will close this Sunday after a mere 32 previews and 166 performances.  I found it to be elegant, smart and sexy.  I love shows that offer a challenge along with the obvious entertainment.  Everyone involved offered up just that, theatricalizing a book, film and actual life story.  I found the show's framework - a 60's style variety show - to be a fitting and theatrical way of telling an epic cat and mouse game in a way that made it all work in just over two hours.  The direction was sleek, fast-paced, and, despite knowing how it all turns out before the show even starts, managed to keep you on the edge of your seat.   The score, matching the show's time and framework, is equally challenging and high quality, and that is the subject of my review today.

Grade: A+

Title: Catch Me If You Can
Artist: Original Broadway Cast Recording
Label: Ghostlight Records
Number: 8-4449
Format: Single CD
Case: Single Jewel Case
Booklet: Full color production photos; complete lyrics; essays by Frank Abagnale, Jr.
Bonus: Extra track of a song cut from the show, "Fifty Checks," sung by Tom Wopat.

Aaron Tveit and Norbert Leo Butz

Of the Show and Its Stars, I Wrote: "If history is any guide, I’m pretty sure critics will be divided on this show, but don’t wait for a revival 10 years from now at Encores! to decide that this show works brilliantly on every level. See it now, and soak it all in. With The Book of Mormon, we have a celebrated meta-musical comedy; with Catch Me If You Can, we have a superb concept musical.  And who better to take us there than almost the entire creative team of the blockbuster musical Hairspray, which itself took the traditional form to new comedic and socially important heights? Yes, composers Marc Shaiman and Scott Wittman have re-joined forces with director and choreography dream team Jack O’Brien and Jerry Mitchell, who have in turn re-joined with designers David Rockwell (sets), William Ivey Long (costumes), and Kenneth Posner (lighting) to create a completely different world than they took us to before. (Beyond the people themselves, there really is no other valid comparison to Hairspray – to come in expecting that would be like expecting King Lear to be anything like The Odd Couple. Both shows are great on their own.) This world that is as debonair and sleek as a 60’s new Boeing 727, full of innocent double entendres, sexy chorus girls and boys seemingly unaware of, yet basking in, their own steaming hotness, and a juicy story about getting away with everything but murder and coming out on top. All played to a soundtrack (not literally: the magnificent orchestra is in full view nearly all the time) of suave Sinatra-esque songs, and a cheeky modern jazz score that titillates as much as it pleases the ear.

"Live in Living Color"

"It isn’t often that you come across a love triangle involving three men, but that is the real meat of this story. And how amazing it is that all three are being given such grand treatment in three Tony-worthy performances. Tom Wopat gets the lion’s share of the heavy emotional content in this show. We see a man who really only wants to make life better for his wife and son, but can’t see that living by such credos as “The Pinstripes Are All They See” as a way to get around authority, and such platitudes as “Don’t Be a Stranger” and “Little Boy, Be a Man,” aren’t really the stuff of good parenting.  Then there is the honorable life led by FBI Agent Carl Hanratty, warmly played – through a veneer of g-man stiffness – by Tony winner Norbert Leo Butz.  We see the workings of the FBI as frustrating as they are through “Don’t Break the Rules,” and a little inside the man as he tries to out think his con man adversary in “The Man Inside the Clues.”   Aaron Tveit has found the first role, of many one hopes, that proves he can carry a show on his considerably young and talented shoulders. He has turned in a thoroughly engaging, exciting performance as Frank, Jr. It is a role that has huge demands in the singing (his big closer “Good-Bye” is a huge power belt number in the greatest Broadway tradition), dancing (he matches the entire ensemble step for step) and acting areas. We must believe he is smart way beyond his years, mature enough to make smart people believe he could be a pilot or doctor, charming and sexy enough to bed Playboy bunnies, and charismatic enough to woo an innocent girl, her family and a grizzled FBI agent. Tveit has the charming, sexy and high quality singing voice down pat. But this role shows that he is a true triple threat. With Catch Me If You Can he is a full-fledged Broadway star."

"Doctor's Orders" and "Jet Set"

Of the Score, I Wrote: "This world that is as debonair and sleek as a 60’s new Boeing 727, full of innocent double entendres, sexy chorus girls and boys seemingly unaware of, yet basking in, their own steaming hotness, and a juicy story about getting away with everything but murder and coming out on top. All played to a soundtrack (not literally: the magnificent orchestra is in full view nearly all the time) of suave Sinatra-esque songs, and a cheeky modern jazz score that titillates as much as it pleases the ear.   The homey sweetness of the production numbers from weekly variety shows of the Perry Como/Lawrence Welk ilk, as well as the sexy, dazzling, send-the-kids-to-bed-before-it-starts variety shows that were star vehicles for one performer – like Mitzi Gaynor, and later, Liza Minnelli. You know just the kind of numbers I mean – a common setting, a risqué arrangement of a familiar tune, and costumed dancers in the tightest possible versions of setting appropriate costumes, with the star bedazzled in sequins from head to toe. Each number is carefully constructed to please everyone – the song lover, the singer lover, and the blush inducing dancer lovers. The show has an abundance of such numbers – the airline-themed “The Jet Set,” and the hospital-themed “Doctor’s Orders” – to name but two."

Of this Recording, I say: First and foremost, I think all of us who love musical theatre need to thank Ghostlight Records for recording so many shows that not too long ago would have gone by the wayside.  Catch Me If You Can, with its short run, would probably have gone without a cast recording.  As usual, Ghostlight has delivered a top notch product, from the full color booklet to a terrific sound.
Marc Shaiman and Larry Blank's vibrant orchestrations, under the direction of John McDaniel sound simply gorgeous, played by a full jazz orchestra.  They were great live onstage, and certainly do not disappoint here.  And, absent of the visual, the score is even more vivid and exciting when one can concentrate on the music and lyrics (by Shaiman and Scott Wittman).  What was terrific in passing while the show was going on, is even more fun just listening to it.  In the theatre, I knew I liked the score.  After listening to the CD, I really appreciate the wit and intelligence of the songs. 

The score itself is a mix of theatre music, torch songs and period/genre specific numbers.  And yet, and much of a mix as there is, the score is a cohesive whole.  There are times when you expect Frank Sinatra or Dean Martin, cigarette and scotch glass in hand, to start crooning the smooth jazzy numbers - "The Pinstripes Are All They See," "The Man Inside the Clues."  Or maybe Perry Como comes to mind when hearing the clever story-song "Butter Outta Cream" or "Seven Wonders." 

"Seven Wonders"

(Aaron Tveit and Kerry Butler)

"Little Boy, Be a Man"

(Norbert Leo Butz and Tom Wopat)

And of course the big dance numbers performed by all those innocently sexy boys and girls of the ensembles of all the best variety shows come across pretty well here, too.  In the show, they are "The Frank Abagnale, Jr. Players" and here, as there, they come across well, excellent singers, all, in such numbers as "The Jet Set" and "Doctor's Orders."  Of course, it is sad that one can't see what goes with these numbers - the dancing and staging really make the big numbers - "Live in Living Color" especially, and the smaller, stagier numbers like "Don't Be a Stranger."

Stand-out Numbers:  The whole recording is terrific, but there are several songs I find myself playing over and over.  Surprisingly, the awesome-as-you-watch-it-number "Don't Break the Rules" isn't one of them - you really need to see that number to fully appreciate it.  But I love the following: "The Pinstripes Are All That They See," with Tom Wopat's suave song-stylings and the back up of the girls.  "Doctor's Orders" is a sexy double-entendre number, featuring great vocals from Candace Marie Woods.  I love the emotion behind two of Norbet Leo Butz's numbers, "The Man Inside the Clues" and his poignant duet with Aaron Tveit, "Christmas Is My Favorite Time of Year."  But it is the upbeat numbers that set my feet a-tappin' (I literally have trouble sitting still when I drive): "Live In Living Color," "Jet Set."  But my two absolute favorite songs are the infectious "(Our) Family Tree," a (literally) sing Along with Mitch production number, and the powerful "Goodbye," which is gloriously sung by Mr. Tveit.  For me those two numbers alone reveal a really terrific show sadly under appreciated.

Here's hoping national audiences embrace the National Tour.

(Photos by Joan Marcus)


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Jeff
3.005

What's Next After Normal

About a week before the Great Broadway Closeout of 2011, The New York Times ran an article about some actors who have long been connected with a show about to close.  You can read that article HERE.

One of the featured actors was next to normal's Henry, Adam Chanler-Berat.  He seems a logical choice as he is the only actor that has been with the show from the beginning - off-Broadway, DC, Broadway.  His feelings - that the end will be like breaking up with someone, sadly - mirror my own increasing sorrow that something I love will no longer be, but will live as some very fond memories.

Mr. Chanler-Berat won't be long off the boards, though, as soon he will be playing the title role in off-Broadway's Peter and the Starcatcher, an extension of the Peter Pan story.  His co-stars, Christian Borle and Celia Keenan-Bolger will be playing over 50 roles!  I am so looking forward to seeing this; I love the whole Peter Pan "thing", I love the co-stars, and, of course, won't miss the opportunity to see him play a new part!

The other remaining normal cast member, Louis Hobson, also has a new show on the horizon (he will not be joining the n2n tour as the chatrooms might have you believe).  He will be in the Roundabout Theatre Company's The People in the Picture, with two time Tony-winner Donna Murphy.  And he will be playing a doctor.  I have a feeling this doctor will be MUCH different than Drs. Fine and Madden.

Alice Ripley in the National Tour of next to normal

The other original cast members have all moved on, as well.  Alice Ripley, as you no doubt know, headlines the National Tour of next to normal, bringing her acclaimed performance to audiences across the country.  She is also promoting her latest CD, Daily Practice.  J. Robert Spencer left the role of Dan and rejoined his original Jersey Boys co-stars (Daniel Reichard, Christian Hoff and Michael Longoria) as The Midtown Men.  They perform a concert of 1960's guy group hits. 

J. Robert Spencer and The Midtown Men

Original brother and sister team Aaron Tveit and Jennifer Damiano have both gone on to star in their own new shows this season.  Jennifer, as you might have heard, is Mary Jane Watson to Reeve Carney's Peter Parker, in a little show called Spider-Man: Turn Off the Dark.  Enough said.  Meanwhile, Aaron co-stars with Norbert Leo Butz in the musical adaptation of the film Catch Me If You Can.  He left n2n for a brief period to do the pre-Broadway try out of the show; it is great that he gets the chance to see the project through.

TOP: The various disguises of Aaron Tveit in Catch Me If You Can

BOTTOM: Jennifer Damiano and her Spidey, Reeve Carney

During that brief hiatus from n2n, Kyle Dean Massey took over the role of Gabe, and he later officially replaced Mr. Tveit in the role.  Later this month, Massey returns to the role he left to play Gabe, Fiyero in Wicked.

Kyle Dean is soon to be

Dancing Through Life in Wicked

Meghann Fahy the current Natalie just finished filming her final scenes in the soap opera One Life to Live, and will begin a process that is still sort of new to her: auditioning for Broadway shows.  She landed the understudy-to-leading-next to normal-role after auditioning for Spider-Man!  From there, they called her in to read for Natalie and the rest is history.  1 audition, 1 role.  I have no doubt we'll be seeing much more of Miss Fahy!

Speaking of understudies, original Diana stand-by, Jessica Phillips, is in the cast of the upcoming Priscilla, Queen of the Desert: The Musical.

Jason and Marin

And the current Dan and Diana, Jason Danieley and Marin Mazzie will be premiering their new cabaret act later this winter/early spring.  And knowing their track records, I'm sure it won't be long before we see them both on stage again soon.

Pulitzer Prize winning writers Brian Yorkey and Tom Kitt sure aren't resting on their award-winning laurels!  Together, they are working on a new musical specifically for Robert Downey, Jr.  Mr. Yorkey has been working on the book for Catch Me If You Can.  And Mr. Kitt, most recently with American Idiot, has joined forces with Amanda Green, Lin-Manuel Miranda, Andy Blankenbeuhler and Jeff Whitty for the new show, Bring It On: The Musical, which premieres January 15th in California.

The Bring It On Creative Team

I'm so glad to see that everyone in next to normal has or is moving on to exciting projects, sharing their talents with the rest of us.  Still, I can only imagine the bittersweet feelings they must be having as Sunday evening approaches.  I know I sure am...

(Photo at top from The New York Times.  Other photos Getty Images, jrobertspencer.com, bringitonmusical.com)

Comments?  Leave one here, email me at jkstheatrescene@yahoo.com, or Tweet me!
Jeff
2.135

When the Show Goes On, But the Star Doesn't

Recently, fellow blogger and friend, Esther of Gratuitous Violins, posted a blog (click here to read her full explanation, and several responses) explaining her disappointment in a system where she found out well in advance that Kelsey Grammer would be out of La Cage aux Folles the night she would be attending, and was not informed of such by Telecharge. I will leave it to you to read her blog, but I thought I’d talk a bit about that subject here.

It is always a risk, of course, with live theatre that the cast members may, for whatever reason, be out for a given performance. It is particularly regrettable when the performance has been critically acclaimed and/or award-winning. And it is even worse when it is someone of a certain status that would make missing said actor a long-term disappointment. No offense to their understudies, but I’d feel extremely disappointed if Angela Lansbury or Bernadette Peters or Patti LuPone were out when I had a ticket. So I can totally understand Esther’s disappointment about Mr. Grammer (especially since I think his is the performance that makes the show, not the odd Douglas Hodge, who only impresses me in Act Two).

All of that said, I have over the years encountered the upset of understudies, and so far, I haven’t been disappointed, and in most cases leave the theatre thinking, “is so-and-so really that much better?”, and in one case, I actually preferred the understudy.

In previous blogs I’ve mentioned some of these folks, so please forgive the repetition!

I have managed to miss Gavin Creel in both shows I went to see him in specifically! That’s right, I saw his understudy - a young guy named Brandon Wardell - in Thoroughly Modern Millie, and Mr. Wardell was terrific. But my most pleasant surprise was during one of the first previews of Hair, when his understudy took the stage for the very first time - and apparently before he ever had a put-in rehearsal. That young man, Jay Armstrong Johnson, was superb. Do I regret missing Creel’s Tony-nominated performance? Sure. But I am really glad I saw this great new talent, and with a cast extra energized and pulling for him!

Alice Ripley in a Hollywood revival of Tommy, as Mrs. Walker

Back in the 90’s, shortly after it opened, Marcia Mitzman began to miss performances in The Who’s Tommy. The matinee I attended was one of them, and the understudy was so new to it that they had to hand us slips with her name on them; they weren’t even inserted in the Playbill! Sure, she seemed a touch young for the part to look at her, but the minute she opened her mouth, she WAS Mrs. Walker! Her name was Alice Ripley and the rest is history.

Interestingly, this past year, I went to the city to specifically see Kyle Dean Massey in next to normal, who at that point, was just a temporary replacement for Aaron Tveit, so the urgency was there. It turned out even better than I thought, though, when I saw that Alice Ripley would be out and Jessica Phillips (left) would be on. I was crushed, as I loved Ripley’s performance. So I texted a good friend and complained, and he convinced me to stay, reminding me that Ms. Phillips could turn out to be a great new discovery, and that they wouldn’t hire just anyone to cover a Tony-winner. And besides, I was there for Mr. Massey. So I sucked it up and went in. I’ve never been so glad I stuck with it. Ms. Phillips was mesmerizing, and played the role so well and so differently. I was moved, as with Alice, but in a much different way. I got to meet her after the show, and I told her how glad I was to have seen her. The look on her face made it all worth it.

Esther is going to see Christopher Hoch (at the top of this blog) as Georges in La Cage, and he was another of my understudy “finds.” I am a huge Christopher Sieber fan - I’ve never missed a show he was in, until this one. And aside from really wanting to see Sutton Foster in Shrek: The Musical, Mr. Sieber was the draw for me. So, I was terribly disappointed to find that nasty little white square of paper in my Playbill announcing that “at this performance…” Sieber was out and Hoch was in. You know what? He is a great actor/singer! And the audience ate him up. Glad I saw him, too!

And so, the show must go on, even if the star doesn’t. Most of the time, it has been a great experience for this theatre-goer.

 
 
Comments?  Leave one here or email me at jkstheatrescene@yahoo.com.

Jeff