LOGOS: The People in the Picture

It is very rare that I am divided on a show logo, but that is definitely the case with Roundabout Theatre Company’s The People in the Picture. And since it has been completely overhauled, and they are resorting to ads that include a Donna Murphy head shot, I can only guess that whoever is in charge of their artwork is at a loss as to what to do with it. I have a suggestion: combine the two versions and skip the picture of Ms. Murphy. Her name above the title is all a theatergoer will likely need. (If they are trying to reach a broader audience, then I can say nothing more than “quit while you’re ahead.”)

The initial artwork/title work was a simple thing, evocative and simple, perhaps too simple. But as a title alone, it works. The framed, bent-cornered image coupled with a faded, sometimes rubbed out light blue color is evocative of an old photo and of home. That light blue shade most definitely gives off a “homey” feeling; it personally reminds me of the color of plates my grandmother used to serve lunch on. (The darker blue, more detailed plates were, without a doubt, Sunday-only dinnerware!) Of course, by making the title on a “picture,” it references the title itself, while the typeset is old-fashioned and manages to be both familial and formal. And so, without so much as an icon, the title in this treatment at least tells us that the story has to do with family, and a few generations at the least given the “aging.”

Then, all of a sudden, the show logo emerged, and odd mix of interesting iconography and unattractive typeface. Now we have a very un-warm shade of purple against a beige/peachy-ish background, the title in places looks 3D, and a cold box lettering style throughout. I have to admit I simply do not get what they are doing with this titling; what I do know is that I don’t like it. It looks thrown together. Perhaps it is a compromise? No matter. It is ugly.

But then there is the image that goes with it. Purple-shaded sepia toned (to match, I assume, the title) photo of a happy, curly haired little girl in overalls. I think we can assume from the tones of color that it is meant to be an old-time photo, but she could be a child of today (my niece wears similar overalls at age 4). This, I think is interesting, as the story of the show goes back and forth between generations.

Even more interesting is the way the photo is presented. At first glance, it looks like a simply torn photo, which begs the question: who got torn out of the picture? And are the missing ones (+ the child) the “People in the Picture”? Then you look closer and notice that the torn corners are not just rips, they are silhouettes of people that look like they are looking at the child. The same questions remain, but much deeper. Are the torn “faces” contemporary people looking at the girl from the past? After all, the “tears” have to have happened AFTER the picture was taken. And the “tears” in the paper are white, not aged, hinting that they are more recently made still.

And so there is an enigma. Half of the logo works, the other half doesn’t. And as good as the part that works is, it isn’t THAT compelling to start with. I’d have gone with a “two photo” logo if it were my decision. One, the original title “picture” perhaps aged or stained, maybe “fastened” down with yellowing tape; the other the torn image of the girl, with some of it “under” the title, as if the photos had been stacked but are now askew. That would have created one cohesive title-image, and have made it more interesting.

As it stands now, only the name above the title interests me enough to buy a ticket. I guess it is a good thing Roundabout has a big subscription base.

Grade: C+



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Jeff
2.225

Casting: The People in the Picture

With the tragic demise of The Scottsboro Boys this fall, it looks like The People in the Picture will be this season's potential "art show" musical.  I'm sure you know what I mean - the one show that is serious, artistic...the one that theatre snobs point to as "the future of the American musical."  Sometimes, as in the case of next to normal, the balance of art and entertainment is found and pleases enough people in both camps to have a long, successful run.  But usually, despite critical acclaim and a bevy of awards, these shows are fast closers.  In recent seasons, we've had LoveMusik, A Catered Affair, and further back, Passion, Sunday in the Park with George...I could go on.

With a book by the author of Beaches (Iris Rainer Dart), one can be certain that emotional buttons will be pushed with laughs turning to tears and tissues passed all around the theatre.  On paper, this multi-generational show about a Jewish immigrant reads either as the next Grey Gardens or a schmaltz fest ready for community theatres to devour and overdo.  The presence of Donna Murphy and director Leonard Foglia, however, tends to make look at this with more seriousness than I might have otherwise, for neither has a track record of just doing a show to do a show.  In fact, the casting of the show in its entirety brings this little show, which has flown almost completely under the radar, into potential "take it all away from the big, splashy shows" potential.

Donna Murphy

Again having two time Tony winner (Passion, The King and I) and multi-Tony nominee Donna Murphy in the leading role - one that requires her to play a range of ages - really does up the ante.  She is a genuine Broadway stage actress who happens to specialize in musicals.  Rare, indeed.

She is being supported by a cast of pretty decent heavy-hitters, as well.  Joining her will be Alexander Gemignani (Sweeney Todd, Assassins), Christopher Innvar (Les Miserables - original, 110 in the Shade, Victor/Victoria), Nicole Parker (Wicked, Martin Short: fame Becomes Me), Rachel Resheff (Shrek, Billy Elliot, Mary Poppins), Hal Robinson (Grand Hotel: The Musical, Nich and Nora, Cabaret - 1998), Lewis J. Stadlen (The Producers, Minnie's Boys, 45 Seconds from Broadway), Joyce Van Patten (Brighton Beach Memoirs, Rumors), and Chip Zien (Into the Woods, Falsettos, A New Brain).

Alexander Gemignani, Nicole Parker and Christopher Innvar

The ensemble/supporting cast includes: Brad Bradley (Steel Pier, Spamalot, Billy Elliot), Rachel Bress (9 to 5: The Musical, Mamma Mia!), Jeremy Davis (9 to 5: The Musical, Billy Elliot, South Pacific), Emilee Dupre (debut), Maya Goldman (Shrek: The Musical), Louis Hobson (next to normal), Shannon Lewis (Contact, Fosse, Curtains), Jessica Lea Patty (A Chorus Line, The Addams Family), Andie Mechanic (debut), Megan Reinking (Hair, Lestat), Jeffrey Schecter (A Chorus Line, The Pajama Game) and Paul Anthony Stewart (Cyrano: The Musical, Fiddler on the Roof).  Several of these people have carried large roles in big musicals, which really speaks to the depth of talent in this company.

Louis Hobson, Shannon Lewis and Paul Anthony Stewart

And with a score by legendary songwriter Mike Stoller (Smokey Joe's Cafe), musical direction by theatre legend Paul Gemignani, and staging by hot Broadway director/choreographer Andy Blankenbuehler, this Roundabout Theater production has a whole lot going for it.

I have a good feeling about this show, after all.

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Jeff
2.189

DVD REVIEW: Sondheim! The Birthday Concert

DVD: Sondheim!  The Birthday Concert. Presented in March 2010 at Avery Fisher Hall at Lincoln Center for the Performing Arts, New York City. Conducted by Paul Gemignani.  Hosted by David Hyde Pierce.  Written by Lonny Price and David Hyde Pierce.  Produced and Directed for the Stage and Television by Lonny Price.  A presentation of Ellen M. Krass Productions and THIRTEEN in Association with WNET.ORG. 116 minutes.

Grade: A+ (I'd go higher if possible!)

Let me just cut to the chase here.  Sondheim!  The Birthday Concert is the best performance of its kind that I have ever seen on screen.  Bar none.  It is expertly staged, filmed, and edited by Lonny Price.  The quality of the sound is beyond excellent.  The pace is quick, witty, reserved when appropriate and celebratory throughout, particularly due to the superb hosting of David Hyde Pierce, who, oddly enough, has never done a Sondheim show.  (Let's remedy that one fast...).  Even the setting is cool... the entire orchestra shell draped in billowing material and lit as a giant birthday package.

And what gems that package holds!  First and foremost, what evening of this magnitude for Stephen Sondheim would be complete or so well taken care of without the masterful baton of Paul Gemignani, the man who has conducted every single original Sondheim production since 1975?  And who better to have him conduct than The New York Philharmonic?  The sound is pure bliss.  Their "Birthday Overture" and "Theme from REDS" really allow them to shine, but their contribution to each song is immeasurable and definitive.

The cast list is a who's who of two kinds.  As one might expect at an occasion such as this, names associated with Sondheim's works are plentiful:  Bernadette Peters, Elaine Stritch (who at this point in time had no idea that they'd be critically acclaimed in Sondheim's A Little Night Music), Mandy Patinkin, Donna Murphy, Marin Mazzie, Patti LuPone, George Hearn, Jim Walton, John McMartin, Joanna Gleason and Chip Zien.  The second list is a who's who of today's youngest and brightest (and simply magnetic) performers, some of whom have Sondheim on their resumes, some who don't: Bobby Steggert, Audra McDonald, Laura Benanti, Laura Osnes, Matt Cavenaugh, Jenn Colella, Victoria Clark, Michael Cerveris, Jason Danieley, Alexander Gemignani and Karen Olivo.  Opera singer Nathan Gunn, ABT dancers Blaine Hoven and Maria Riccetto, and the Shark girls from the revival of West Side Story round out the stellar company.

And given the level of talent on that stage, one would expect a flawless evening.  And that is exactly what you get.  How nice to have all expectations met and exceeded.

Following the overture, the evening opens with a few songs that Mr. Sondheim only contributed lyrics to - "America," with Olivo and the girls recreating the number from the revival, and Alexander Gemignani delivering a simple and lovely "Something's Coming" from West Side Story.  Jason Danieley and Marin Mazzie offer a fun "We're Gonna Be Alright" from Do I Hear a Waltz?, and Victoria Clark showed of her comic chops with a seldom recorded number, "Don't Laugh," a song written to help a show in trouble out of town called Hot Spot.  "New talent" is called upon for "Johanna" from Sweeney Todd (Nathan Gunn) and "You're Gonna Love Tomorrow"/"Love Will See Us Through," from Follies, featuring the charismatic talents - and I mean all four fairly jump of the screen oozing charm and charisma - of Matt Cavenaugh and Jenn Colella and Bobby Steggert and Laura Osnes.  All four reveal a very promising future for the Broadway musical.

The next segment of songs includes a variety of original cast performances - a touching Follies number from John McMartin, and Jim Walton singing a song from Merrily We Roll Along that wasn't even written when he starred in it.  But the real highlights were the crowd-pleasing reunions of Chip Zien and Joanna Gleason, doing "It Takes Two" from Into the Woods, and "Finishing the Hat"/"Move On" by Mandy Patinkin and Bernadette Peters.  All four transported us back as if they were still doing their shows 8 times a week.  "Move On" was particularly brilliant, with both Peters and Patinkin in superb voice.  A funny and brilliantly conceived hybrid was up next with dueling Sweeneys Michael Cerveris and George Hearn doing a stunningly sung and acted "Pretty Women", and then the hilarious trio - yes, trio - of Cerveris, Hearn and Patti LuPone doing "A Little Priest."

The final segment - notable for the much publicized "red dresses" alone - proved to be the absolute icing on the cake.  Six of Broadway's greatest living divas took the stage and each delivered a "Sondheim Lady" number.  Each was an absolute treasure, but three numbers really stood out for me: Patti LuPone's blistering and for me now definitive rendition of "The Ladies Who Lunch", complete with a sincere and touching moment between LuPone and Elaine Stritch, originator of the role.  Strich, on her feet the second it was over, LuPone gesturing for an ovation for Stritch.  It was a beautiful of the moment moment.  The second standout was the biting and humorous "Could I Leave You?" from Follies as presented by Donna Murphy.  A study in song interpretation and acting, this, too, is for me a definitive version.  But the absolute treasure of the evening was Elaine Stritch's comic, bold, and honest interpretation of "I'm Still Here" from Follies.  It is the very definition of brilliance.  And it stands as testament to what a great theatre legend she still is.  Brava, indeed.

When the actual event happened, it made headlines for obvious reasons, but also because the casts of every then current Broadway show came to pay tribute to the musical theatre master.  For the closing number, some 287 singers filled every aisle on all levels of the hall and on the stage to sing, for a visibly moved Stephen Sondheim, "Sunday" from Sunday in the Park with George.  You'd have to be in a coma or worse not to be moved by this giant tribute.

What strikes me most about this particular concert is that because the very best talents came together, it was even more evident just how genius his works are.  Without fail, the minute each number started, every single performer got that "in the zone" look of intensity, followed by what I call the "Sondheim Look."  You may know it - the singer can't help but act the entire song, so evocative are the lyrics, and because each is so complex their eyes glaze over in an amazing level of concentration.  Even the really great ones do this.  But the most remarkable thing is that all of this still happens when each number is without context.  Here, the "Sondheim Look" is joined by an expression of sheer joy and admiration.  It is as if each performer is also seeing outside him or herself and even as they interpret are in awe of the fact that they are getting to do this for the master himself.  (Would that every Christine/Phantom pairing had this magic!)

Of course, the man is the reason for the occasion, but isn't it wonderful to celebrate a life that continues to give all of us so many gifts?  This DVD is a lasting testament to the genius and artistry of one of Broadway's greatest people.



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Jeff
2.132