CD REVIEW: Women on the Verge of a Nervous Breakdown

One of my biggest disappointments from last season was the musical Women on the Verge of a Nervous Breakdown.  But it wasn't a disappointment for me for all of the reasons you are probably thinking.

I was privileged, yes privileged, to see the second preview of the show.  It was the thrill of this theatre fan's life to see some of the most revered talents on Broadway "in process."  Sure the show wasn't ready.  As I said way back when I saw it, it needed a fast opening number, it needed clarity, and it needed a consistently zany pace.  One of the biggest problems with it is that it relied too heavily on the audience understand European sensibility and the Latin style of telenovelas.  The closest thing we have here is soap operas which wouldn't know fast pacing if their lives depended on it.  And in those first previews, the translation of film style staging - vignettes sliding by, projections of colors moving every which way during scene changes, and even creating close ups and montages - was creaky at best.  But, and here is where I diverge from the common consensus of the audiences and critics, I could still see through all the clutter what was going to be.  And what it was going to be was something smart, sexy and as non-Broadway a sensibility as one can get.

I had tickets to revisit the show just before its scheduled limited engagement was over.  Unfortunately, the show closed early, and I never got to see what I was sure was a terrific musical when all was said and done.  Yet another show, that pushes boundaries and asks its audience to participate by thinking and feeling outside the box, failed despite the constant outcry from theatregoers for just that sort of thing.  And so you can see why it ended up being a disappointment.

But the great news is that Women on the Verge of a Nervous Breakdown, the Broadway musical version, will live on forever thanks to Ghostlight Records, which went ahead with a cast recording despite the show's untimely demise.

Grade: A+

Title: Women on the Verge of a Nervous Breakdown
Artist: Original Broadway Cast Recording
Label: Ghostlight Records
Number: 8-4447
Format: Single CD
Case: Single Jewel Case
Booklet: Full color production photos; complete lyrics; essays by Pedro Almodovar and Frank Rich

As I did not formally review the show, I will offer my comments in a slightly different format than usual.  I caveat everything I say below with this understanding: I did not see the final product, but based on the differences between what I saw and what is preserved on this recording tells me that nearly everything I had hoped they would do, they did.

The Booklet:
This one is of high quality, with a full color rendition of the show's manic logo, and full color throughout.  Included is a sweet essay from Pedro Almodovar, upon whose film the show was based.  As you might expect he offers nothing but praise for the creative team and cast.  More surprising, and more appreciated by this listener at least, is a very telling essay by Frank Rich, former New York Times reviewer who could cut your career to shreds with some scathing reviews.  The difference between him and his predecessors is that his criticism was agenda-free and applied equally no matter if you were a new Broadway talent or a 10 time Tony winner.  And generally, after the hurt and anger subsided, you could at least understand his point of view, even if you couldn't fully agree with it.  Pithy, bitchy sound bites were not his thing.  And the essay he includes here is very telling of the final product.  While it is clear that he found the show to be imperfect, he finds much of it ahead of its time, and goes so far as to say that Women on the Verge will join the ranks of many a show that critics and audiences failed to embrace at first, but have/will become beloved. 

I also love that the booklet contains great color production photos as well as the super snazzy cast photo that was outside the Belasco Theatre.  And I love the complete synopsis as well as lyrics (including some stage directions), which really help to illuminate the complete work.

The Quality of Sound:
A big fan of both of David Yazbek's previous Broadway scores, The Full Monty and Dirty Rotten Scoundrels, it is wonderful that this gem has been recorded.  All three scores are from projects where films have been turned into musicals, and like the first two, Yazbek has captured not only a Broadway sensibility in his music and lyrics, but the rhythms and sentiments of the particular piece.  Time and again, he has brought to vivid life the vibrancy and urgency of Latin music and culture.

Simon Hale's (along with additional work from Jim Abbott and David Yazbek) orchestrations are lush and full.  The background under the main tune is consistently rich with complicated patterns of percussion and individual instrumentation that mirror the craziness of what is going on, whether it is zany physical action or the crazed musings of women ready to kill for their lovers, kill their lovers or even themselves, so desperate a frenzy these ladies are in.  Jim Abbott's musical direction allows that same depth in the vocals as well.  How wonderful, for example, to hear Patti LuPone work her same magic in solo numbers AND as a part of the ensemble!

The Quality of Performance:
As one might expect from a group of actors with the level of pedigree that that this company has, the performance quality on this recording is extraordinary, from the supporting vocals of the ensemble to the leads and the supporting cast.  No one is a star here, and yet everyone is giving a star turn on this album.

One wishes there were a bit more dialogue and more material for both Justin Guarini and Nikka Graff Lanzarone, both of whom delivered the goods in their Broadway debuts.  But really, other than that, this cast recording captures great performances and some really superb songs.  I find myself really liking almost 100% of the score after several listenings.  Even upon my first listen, I liked nearly the entire thing, and really loved several songs right off the bat.  I have learned over the years not to immediately judge a new score until I have listened to it many many times, allowing it to become almost background music in my mind.  It is at that point that different things strike my ears and brain at different times.  With this score, I really have learned to appreciate the imagery, sensuality and bold sexuality of the lyrics.  And I have really come to admire that Yazbek (and book writer Jeffrey Lane) allowed the stage version to rely less on shtick and physical comedy throughout and allowing the frenzy of these women to show up in their thoughts and emotions.  One probably associates being "on the verge' with the hilarity and physicality of Laura Benanti's likely Tony turn, "Model Behavior," which even on just the recording sounds like a mad dash all around the stage.  But there is also the more emotional breakdown allowed by Patti LuPone's equally frantic but physically subdued "Time Stood Still" and most definitely in a showcase of understatement, "Invisible."  Then, too, is the lashing out from scorn by Sherie Renee Scott in "Lovesick," which succinctly (and devilishly) tells us that sexually, women can think with their crotches just like men do.  And later, her disappointment and anguish over what was supposed to be is revealed in the complex "Island."  These are women who think with their hearts and bodies first, and when their minds catch up, go right to the brink.  Song after song tells us how a woman, who is otherwise smart and fully self-realized, can fall so fast and easily for a known Lothario, a nebbish geek living under his mother's thumb and in his father's shadow, and even a known terrorist.

And those men are mostly in the periphery of the show, as they should be, but they are not just plot points, but rather the catalysts for the whole show.  Brian Stokes Mitchell, as Ivan, male slut, uh, Casanova, makes the sensuality seem so easy in "Lie to Me," and radiates charm right through your ear buds in "Microphone," supported in that number by his learning-the-ropes son, played by Justin Guarini.  And if Ivan's philosophy and magnetism weren't already apparent, he lays it all out for you in "Yesterday, Tomorrow and Today.

The ending number, "Shoes from Heaven," as well as the bonus track, the original opening number (which did not work dramatically) "My Crazy Heart," are beautiful, complex numbers which give the show emotional depth and some gorgeous vocals to boot.

I'm not going to pretend, though, that the spicy songs with their urgent beat and tricky word play don't appeal to me the most.  They do.  I have the overture, "Madrid Is My Mama," the vastly superior opening number, which used to open act two, "Model Behavior," "On the Verge," and "Tangled" programmed to play and repeat in my car.  They are nothing less than exhilarating!

Yes, not seeing the final production will always nag at me.  But I am so grateful that I got to see it at all.  Women on the Verge, I hope, is really on the verge of big things!


Comments?  Leaver on here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.269

Broadway "Idol"atry Continues!

The other day my Twitter page was abuzz with news about the latest "name" added to the cast of the upcoming musical Women on the Verge of a Nervous Breakdown.  Given that it is a Lincoln Center with Bartlett Sher at the helm (not to mention a standard setting company of actors), I am going to give this little casting coup the benefit of the doubt.

Yes, American Idol, the recently beleagured television phenomenon, has reared its ugly head on Broadway again - THREE times in recent days.  But at least two of the three have demonstrated staying power beyond vocalizing 3 minutes a week, and like I said, I'm willing to give the third the benefit of being selected by a prestigious theatre company, a well-decorated director and a cast that notoriously won't put up with mediocrity.

The Idol in question is first season runner-up Justin Guarini, who has been cast to play the son of Patti LuPone and Brian Stokes Mitchell.  From the picture above, I can certainly see why he was cast physically...they could be his parents.  And the first season - before the mass callings and before people voted the worst people to stay for weeks - all of the finalists seemed to have more going for them than recent batches.  On the downside, Mr. Guarini's acting has yet to be seen in a positive light - remember From Justin to Kelly?  YIKES!  I guess we'll find out soon enough if he has what it takes.  Obviously, people with a lot more expertise than I have in that area did see something, since they hired him!

In a very much more low-key manner, Season 9 Idol semi-finalist Todrick Hall has joined the ensemble of the Tony-winning Memphis.  This young man already has New York credits to his name, including stints in The Radio City Music Hall Christmas Show and The Color Purple (opposite another Idol, Fantasia Barrino), a show in which he also understudied and performed the role of Harpo.  He has also written and staged OZ, a new version of The Wizard of Oz all around the country.

But the bigger news of the week went to 2007 American Idol winner Jordin Sparks, who has interrupted her world tour to take over the role of Nina in the 2008 Tony winning Best Musical, In the Heights.  The reviews aren't in yet - she just joined the show Thursday - but if her best selling records are any indication, the girl can sing!

Here's hoping all three find a home on Broadway and even come back a time or two.  Heaven knows young, solid talent is always something theatre needs.



Comments?  Leave one here or email me at Yahoo, Tweet me or Formspring me!
Jeff

Trends of the First Ten Years: The "Idol"ization of Broadway

A little show called American Idol swept the nation this past decade, and with it came the flurry of televised talent show competitions.  It is pretty likely that the best musical show on television, Glee, wouldn't be on  if shows like AI hadn't paved the way for singing and dancing on the tube.  And Broadway has largely benefited from the show (and now seems to be giving back with Glee) with several Idol alums trodding the boards to varying degrees of success, but definitely bringing a new audience to the Great White Way.  And who knows?  Maybe a few of those newbies will become lifelong theatre fans as a result.

How much longer this trend will continue is up in the air as the show is starting to show signs of fatigue, and the Idols themselves struggle to achieve hit singles.  In fact, as I write this comes news that several of the American Idol Live! tour dates have been cancelled.

And while the theatre community has benefited from the show, I still take exception to the negative sneer of the judges who say that a singer is "too Broadway."  What exactly does that mean?  Even if all it means is that the "Broadway sound" isn't what they are listening for in a specific genre, to say it like "Ew! You have cooties!" is just wrong.  Still, they have had show tune nights, and Sir Andrew Lloyd Webber has checked in.  How about we send in some heavy hitters like Stephen Sondheim or Michael John LaChuisa?  The judges often moan about a lack of artistry.  Having the contestants try to do one of their numbers would certainly separate the wheat from the chaff!

Then, too, there is the unfortunate by-product of the Idolization of Broadway.  The histrionic singing style that many of the Idols adapt makes for a good show in three minute bursts.  But the public now thinks that is the only kind of "good" singing there is, and they expect it from their shows - just look at Wicked or this year's Tony winner, Memphis.  But what works in a three minute burst is much harder to sustain for two hours eight times a week.  Right, Fantasia?  I wonder if that's why, by and large, the runners up can handle the Broadway grind, and the winners seem to struggle in any venue that requires more than a sound bite of exceptional quality.  (Anyone who saw Taylor Hicks in Grease! knows what I'm talking about.)

Well, for better or for worse, American Idol has definitely influenced a trend on Broadway this first decade of the new millennium.  Here are some of those Idols turned Broadway babies:

• Fantasia Barrino - Played just over half of her contracted performances in The Color Purple.

• Josh Strickland - Played the lead in Disney's Tarzan, to some acclaim for its entire run, rarely missing shows.  He now headlines Jerry Mitchell's Peep Show in Las Vegas.

• Constantine Maroulis - Plays the lead in Rock of Ages, and also appeared in The Wedding Singer.  He earned a Tony nomination, does vigorous campaigning for the show, plans to head the National Tour, rarely misses a show, and still found time to father a child with one of the chorus gals in the show!  I wasn't impressed with his performance, but I gotta give the guy credit - he is sure a committed guy.

• Ace Young - Replaced actors in both Grease! and Hair.  Everything I've seen of him says he could make it big on Broadway with just the right vehicle.  Get in line, Ace!  But stick around!

• Diana DeGarmo - Replaced actors in both Hairspray and Hair, earning solid to rave reviews.  She is reportedly still starring in the upcoming revival of Godspell.

• Frenchie Davis - A long-running RENT refugee, she lent a lot of style to many charity events over the years, and still managed those impossible notes in "Seasons of Love."

• Ruben Studdard - Toured the country with Davis in a revival of Ain't Misbehavin'.  That cast recording was Grammy nominated.

• Taylor Hicks  - According to my avid Idol fan friends, Hicks is the most dubious of winners.  And if his, um, performance as Teen Angel (how could anyone mess that up?) in Grease!  is any indication, it is no wonder.

• Tamyra Gray - Replaced actors in both RENT and Bombay Dreams.  Shakalaka, Baby!

• Clay Aiken - Came to Broadway in an unlikely (for his persona, anyway) vehicle, Spamalot.  He came here and came out.  Everything I've heard about him on stage has been positive.  Maybe there's a role for him in Godspell?

• Jennifer Hudson - One of the most talented and gracious performers from the show gets honorary mention here because she took her less than top 5 finish and parlayed that into a singing and film career, including Broadway favorite Sex and the City: The Movie and an OSCAR for playing Effie in the film version of the Broadway classic, Dreamgirls.  Anytime you want to, Jennifer, please join us!

And finally, I'd be remiss not to mention the imminent arrival of Jordin Sparks (one of my personal favorites) in another of my personal favorites, In the Heights, shown here with soon to be former star of the show, Corbin Bleu.

Thank you, Simon and crew for sending your cast-offs (and a winner or two) our way.  Like it or not, American Idol, a cultural phenomenon has had its effect on a cultural mainstay: Broadway.

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

Jeff