REVIEW: Spring Awakening (National Tour)

One of my all-time favorite shows, Spring Awakening, is in the midst of a non-Equity national tour, and I have heard nothing but great things about it.  I somehow managed to miss it when it was up my way, but my buddy Mike was able to see it recently in York, PA.  Here are his thoughts on the show.  Enjoy!

Review of the April 9 matinee performance.  At the Strand Theatre in York, Pennsylvania. 2 hours, 40 minutes, including one intermission. Starring Christopher Wood, Elizabeth Judd, Coby Getzug, Sarah Kleeman, Mark Poppleton, Aliya Bowles, Courtney Markowitz, Devon Stone and  Daniel Plimpton.  Book and lyrics by Steven Sater, music by Duncan Sheik.  Tour choreography by Joann M. Hunter, based upon the original by Bill T. Jones.  Tour direction by Lucy Skilbeck, based upon the original by Michael Mayer.


Grade: A

Although Spring Awakening is one of my favorite shows of the past ten years, I only got to see it twice on Broadway, and I missed the first national tour entirely. So I was very excited to hear that the second national tour would be stopping at the Strand Theatre in York, Pa., just an hour or so from where I live in Maryland. I was excited not only to see the show again, but to check out an theater and a town that I'd never really visited, despite its proximity to home. Happily, the day held nothing but pleasant surprises across the board.

TOP: The girls

BOTTOM: The boys

Except for two aspects of this excellent touring production, your ears and eyes would not be able to tell that this was not a sit-down Broadway production somehow transported to York. The cast, orchestra, staging, and design were all fully realized and in tip-top shape. As for those two differences, one is rather minor and understandable: a few design elements were simplified for this touring production. At the end of Act I, for instance, the platform holding Wendla and Melchior doesn't rise as it did on Broadway. Suffice it to say that this didn't affect my enjoyment one iota, and I can see why they wouldn't want to carry around and install the necessary equipment for a one- or two-day gig. (Likewise, there was no trap door and under-stage space, as there was on Broadway, but this was even less of a problem.) I'll get to the second and more substantial difference between the productions in a moment.

Christopher Wood (center) as Melchior with

Sarah Kleeman and Mark Poppleton as the Adults

I saw the original cast of Spring Awakening twice on Broadway, and I'm glad to report that the members of this touring cast equaled and, in two cases, slightly bettered their Broadway counterparts. One of those two was Christopher Wood, who brought warmth and "realness" to the central character of Melchior. His crucial relationships with Wendla and with Moritz were clear and genuine, and his singing was up to the challenges of this very diverse score.

Elizabeth Judd as Wendla and Coby Getzug as Moritz also did fine work. Judd is an angelic singer, and her acting was good, too, although I found some of her verbal affectations to be a little distracting during her dialog scenes. Getzug has the most difficult songs of the evening, and he nailed them; his performance was appropriately both manic and sympathetic. His performance came the closest to copying the Broadway original (John Gallagher Jr.), but that's not a bad achievement in itself.

Coby Getzug, Christopher Wood, Elizabeth Judd

As for the terrific supporting cast, two actors deserve special mention. Aliya Bowles, as Martha, gave a definitive performance of "The Dark I Know Well," one of the show's most affecting songs. I always admire an actor who can create a nuanced character in one short scene, and that's what Bowles did here. Even more impressive was Courtney Markowitz in the crucial but smallish role of Ilse - the other performer who was even better than her Broadway predecessor. A beautiful young actress, Markowitz's performance captured the spirit of a girl who has been through a lot, whose body is experienced but whose soul is guiltless. In the tightly constrained world of Spring Awakening, the character of Ilse stands out, and so does Markowitz's performance.

Moritz doesn't do sadness

As for the creative team, tour director Lucy Skilbeck did a marvelous job re-creating Michael Mayer's Broadway staging. The lighting and set design (with some minor simplifications, as noted above) were also very close to the Broadway original - and, frankly, I don't know how they manage to set up and dismantle so much stuff in so little time for a two-performance run, so kudos to the touring crew. Unfortunately, the sound was not so good at the performance I saw, and that's the only really substantial way in which this production suffered in comparison to Broadway. I understand that it must be a challenge to quickly adapt a sound system to a cavernous old theatre, but it did impinge on my enjoyment of parts of the show, so I'd be remiss in not mentioning it.

I'd be equally remiss in not mentioning the orchestra, which did a beautiful job with this score. This tour uses the same instrumentation as on Broadway, with a rock ensemble and three-piece string section. I've always found Spring Awakening's orchestrations to be especially detailed and effective, so this aspect is particularly important to me. The touring orchestra played the heck out of it, and I also have to say that they were the best-looking theatre orchestra I've ever seen.

The Spring Awakening Company

Finally, and perhaps a little off-topic, I found the Strand Theater to be a lovely place to see a show (sound problems aside). The theater itself is gorgeous and comfortable, and the staff is friendly almost to excess. It's situated in downtown York, which is a charming old-time Main Street type of area. There's a bustling city market directly next to the theater, with many food and shopping options (I didn't eat there this time, but next time I will, because it all looked delicious). So if you're a theater person and you're in the mid-Atlantic area, don't hesitate to go see a show at the Strand - especially if it's a modern classic presented as expertly as this production of Spring Awakening.


(Photos by Andy Snow)



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Jeff
2.226

REVIEW: Company

I often blog that I wish I lived in New Yourk, or closer at least, so that I can attend events that only last a very short time, like the Encores! series or the Tony Awards.  One such event was the recent Company In Concert by the New York Philharmonic.  Well, good news for us, one of my most loyal and theatrically savvy readers, Mr. Martins, got to see one of the sold out shows and sent in this review!  Now I can't wait to see it at the movies... buy the DVD...

Review of the April 9 matinee performance of Stephen Sondheim's Company at the Avery Fischer Hall in New York City.  Running time: 2 hours, 45 minutes including intermission.  Starring Neil Patrick Harris, Patti LuPone, Katie Finneran, Anika Noni Rose, Martha Plimpton, Jill Paice, Christina Hendricks, Jon Cryer, Stephen Colbert, Jim Walton, Craig Bierko and Aaron Lazar.  The New York Philharmonic under the baton of Paul Gemignani.  Choreography by Josh Rhodes and direction by Lonny Price.

Grade: A-

The New York Philharmonic’s concert presentation of Stephen Sondheim and George Furth’s revolutionary musical Company featured an all-star cast of Broadway veterans (Katie Finneran, Craig Beirko, Jim Walton) television stars (Stephen Colbert, Christina Hendricks, Jon Cryer) , and both (Patti LuPone, Martha Plimpton, Anika Noni Rose). Company tells the story of Robert and all his married friends and girlfriends, on his 35th birthday, as presented through a series of vignettes.

Bobby, baby!

Neil Patrick Harris

Neil Patrick Harris led this all star cast as Bobby, the perennial bachelor who is afraid of commitment and of being hurt. Harris is no stranger to Sondheim, having starred in the original Broadway cast of Assassins, his experience is apparent as he was able to sing the intricacies of Sondheim’s demanding score. While at times he lacked the vocal power of Dean Jones and Raul Esparza (the original and 2006 revival Bobby, respectively), he was able to pour his emotion into every song, especially “Someone is Waiting”, where Bobby yearns for a woman who is a composite of all his female friends, and “Being Alive”, the powerful anthem where he comes to the conclusion that “alone is alone, not alive” and is ready to face his fear of hurt, and finally find somebody (not some body).

TOP: Stephen Colbert, Jon Cryer and Martha Plimpton

BOTTOM: Christina Hendricks and Neil Patrick Harris

The entire production was brilliantly staged, executed and polished. Ironically, for a musical concert presentation, the book scenes were excellently acted, while the singing was sometimes thin and drowned out by the impressive New York Philharmonic due to mic-ing problems and weak voices. Martha Plimpton, however, as the tender and foolish Sarah, was a stand-out who sang beautifully. (She’ll be cast as Joanne in the next revival, mark my words). Christina Hendricks, in her stage debut as the ditzy flight attendant April, brought a sweetness to the role that you couldn’t help fall in love with. Her thin soprano was perfect for “Barcelona”, and Hendricks made the song feel like a conversation with Bobby.

"Not Getting Married": Aaron Lazar and Katie Finneran;

"Another Hundred People": Anika Noni Rose

Katie Finneran stole the first act as the crazed bride-to-be Amy, not only in the hyperactive patter song “Getting Married Today”, but in the book scene that followed. Flubbing the final verse of the song, Finneran played it off well, and still won the heart of the audience. Anika Noni Rose deserves a special mention as the original Marta. Albeit singing the New Yorkers’ anthem “Another Hundred People” in the upper register, resulting in a vocally weak performance, she acted the song so well that her lack of belt and power was easily forgiven.

Isn't it warm, isn't it cozy?

The choreography by Josh Rhodes was clever and refreshing, and Lonny Price’s direction gave a new life to the show as a whole. The direction and choreography came to a huge payoff in “Side by Side by Side/What Would We Do Without You?,” the second act opening. Choosing a vaudevillian theme for the number, it was riveting to see Patti LuPone kick and dance her heart away, and to see Stephen Colbert carry Martha Plimpton and Neil Patrick Harris. The singing was strongest during this number, making it one of the gems of the night.

Patti LuPone and Jim Walton; Patti LuPone: "The Ladies Who Lunch"

Patti LuPone was the highlight of the night, as the acerbic and tough Joanne. Her Joanne was dark and looming – she never truly mingled with the rest of Bobby’s friends, always going the other way when her husband Larry (played convincingly well by Jim Walton) approached. LuPone’s “The Ladies Who Lunch” was one of those breathtaking moments. Not only could she fill the entirety of Avery Fisher Hall (for those who’ve been there, you’ll know this is no easy task), but she also ensured that every phrase and intonation was powerful and conveyed each heart-wrenching pang of vulnerability with ease. As she finished her diatribe with the climatic repletion of “Rise”, desperation was leaking through, shaking one to the soul. I’ll admit to crying as the song came to an end, and as the audience gave Ms. LuPone the night’s largest ovation. Interestingly enough, after discussing the number with group of theater-goers, there was disagreement about the her performance. Some (myself included) loved it wholeheartedly; others felt it lacked a certain spontaneity and emotion. One thing we all agreed upon was that Patti LuPone has amazing talent.

Maestro Paul Gemignani

The true star of the show, however, was Sondheim’s score played by the New York Philharmonic, and conducted by the legendary Paul Gemignani. To hear the score’s original orchestrations by such an  acclaimed orchestra was worth the price of admission and more. Sondheim’s genius came through in ways that the minimalistic John Doyle-helmed 2006 revival didn’t allow. It was fitting that Gemignani and the orchestra received the final bow and a standing ovation. The score to Company and the New York Philharmonic were the real stars of the show.  And that’s what it’s really about, isn’t it?

(Photos by Walter McBride from BroadwayWorld.com)

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Jeff
2.224

REVIEW: Good People

Here is the second of two reviews of Broadway plays written by my good friend, Miss M.  Today, the show is Good People, currently enjoying an extended run at the Manhattan Theatre Club.  The buzz on this show is excellent; I'll probably be kicking myself for missing it.  So, thank you to Miss M for providing some insight into a couple of shows that I never got to, and for sharing your love of theatre with the rest of us!  I hope you'll write some more and soon!

Warning! This review contains plot spoilers.

Review of the March 20 matinee performance. At the Samuel J. Friedman Theatre on Broadway, New York City. A presentation of the Manhattan Theatre Club.  2 hours, including intermission. Starring Frances McDormand, Tate Donovan, Estelle Parsons, Becky Ann Baker, Renee Elise Goldsberry and Patrick Carroll. A play by David Lindsay-Abaire. Directed by Daniel Sullivan.

Grade: A



This new hit play, written by David Lindsay-Abaire, features a truly excellent cast portraying a group of characters who can mostly be described as “good people,” despite their imperfections and mistakes. Good People uses these characters to explore class differences, social mobility, and what makes that mobility possible. How much of one’s success (or failure) is owed to others and/or to plain, dumb luck? Can one ever fully escape where one comes from?

The play is primarily set in south Boston, known as Southie, which is a rough area, largely Irish-American and accustomed to hard times. Margie, played by Frances McDormand, is perhaps more accustomed than most. In the opening scene, her young boss (Stevie, played by Patrick Carroll) at a dollar store is firing her from her cashier’s position because she arrived late yet again. We learn right away that the reason Margie is so often late is that she is a single mother, and the care-giver (Dottie, played by Estelle Parsons) she employs for her daughter is not terribly reliable. Moreover, her daughter, who is never seen, is a mentally-challenged adult. This is not the first job Margie has lost for this reason, and she is out of ideas and possibilities. The economic picture is bleak and options are few for those without skills and education. Becoming pregnant at 17 cut both of these short for Margie.

The gals of Southie: Becky Ann Baker,

Frances McDormand and Estelle Parsons

Margie’s friend Jean (played by Becky Ann Baker), informs her that Mike (played by Tate Donovan), an old high school boyfriend of Margie’s, is now back in the Boston area. He is a successful, established doctor with a much younger wife (Kate, played by Renée Elise Goldsberry) and child. He got out; he made good and seems to have never looked back. Margie is curious, envious, and in desperate need of a job. So she decides to pay Mike a call. It’s an awkward reunion. Mike has no employment to offer her but instead extends an invitation to his house (in posh Chestnut Hill) for a birthday party his wife is throwing him, raising Margie’s hopes that perhaps one of the guests will have a job for her. Once she decides to go to Chestnut Hill, nothing will stop her, not even a last-minute call that the party’s been canceled. What follows gets to the heart or the meat of the conflicts explored.

Is Mike “lace curtain Irish,” someone who’s forgotten where he comes from and doesn’t care about those left behind, as Margie accuses him of being? Is Mike’s success due entirely to his own efforts or did luck and other advantages play their part? Could Margie have experienced similar success with the same lucky breaks she believes he got? Could it have been her with Mike’s comfortable life? Has Margie put her own pride before possibly giving her daughter a better life? But if pride is all Margie had, do her decisions become easier to understand?

Mike (Tate Dononan) confronts his past (Frances McDormand)

and his present (Renee Elise Goldsberry).

While these questions could lead to a purely serious play, they don’t. The play is very funny, particularly in the first act. The second act turns darker, but there is still humor, even within the heart-pulling degeneration of events. The cast is top notch, playing very human characters, who I was able to understand even when they were not behaving like “good people.” Of the cast, Estelle Parsons plays her character of Dottie most broadly- the kooky old lady- but it works. McDormand, Tate, and Goldsberry give nuanced performances of layered, finely drawn characters. While I expected McDormand to be excellent, and she was, I was very impressed by Goldsberry’s portrayal of Kate. I’d only ever seen her as Mimi, in the final performance of Rent on Broadway DVD. Kate is about as different from Mimi as could be, and she proves an excellent, surprisingly disarming foil to McDormand’s Margie.

Margie meets Kate

The play uses multiple sets, placed on a turntable, making it easier and faster to transition between them. They are realistic and detailed, evocative of the atmosphere and circumstances they represent. (Set design by John Lee Beatty, lighting design by Pat Collins, costume design by David Zinn) They make a nice change of pace from the modern/minimalist sets and staging I’ve so often seen of late (which have their purpose and can be used to great effect; I’ve simply seen a lot of those lately). In transitioning between scenes, a sort of black curtain is used. It’s like a black box closing in on the scene, sort of like television, making the scene/set increasingly smaller until it closes/disappears. While it’s true that the first few scenes contain a fair amount of necessary exposition, I thought the play moved at a good pace throughout. (Direction by Daniel Sulivan) Audience response was very positive and enthusiastic. I don’t think there was an empty seat in the theater.

Frances McDormand's performance

has a lot of Tony buzz this season.

Though probably not the most original or innovative play you’ll ever see, it’s a solid, well-written play, fantastically executed, very relevant to the current economic climate, and a satisfying, thought-provoking, entertaining night (or afternoon) at the theatre. I would not be the least surprised if Good People and McDormand win the Tony.

(Photos by Joan Marcus)

 
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Jeff
2.218

REVIEW: Arcadia

There isn't enough time on the calendar or money in my bank account that allows me to see every show I want to see, be it on Broadway, off-Broadway or even locally.  Just trying to schedule all of the new musicals this season has been an exercise in craziness!  And so, I have asked a long-time reader and theatre friend of mine, Miss M, who seems to get to all of the shows I don't get to, to write up a review or two about major plays that have opened this season.  First up is the starry revival of Arcadia.  Next week, look for her thoughts on Good People!

 

Review of the March 19 evening performance. At the Ethel Barrymore Theatre on Broadway, New York City. 2 hours, 45 minutes, including intermission. Starring Margaret Colin, Billy Crudup, Raul Esparza, Glenn Fleshler, Grace Gummer, Edward James Hyland, Byron Jennings, Bel Powley, Tom Riley, Noah Robbins, David Turner and Lia Williams. A play by Tom Stoppard.  Directed by David Leveaux .


Grade: B


Arcadia opens in a large room in Lady Croom's (Margaret Colin) English country house in Derbyshire called Sidley Park. The room is vast but not ornate. The ceiling is quite high and there are multiple doors on the right and left sides and on the back wall there are several French-type doors leading to the gardens, which are much spoken about but never seen. The room is dominated by a very large, very long wood table, at which are sat, on opposite ends, the tutor Septimus Hodge (Tom Riley) and his rather brilliant thirteen year old pupil, Lady Thomasina Coverly (Bel Powley). It is 1809 and Thomasina begins the play by asking her tutor to explain what “carnal embrace” means. It is just the first of many questions posed throughout the play, but not one that Septimus is inclined to answer. Instead, he directs her to try to prove Fermat’s last theorem, probably figuring it would buy him a good deal of undisturbed peace and quiet in which to continue his own work. It doesn’t. Thomasina’s questions and observations are endless, her thirst for knowledge and understanding insatiable. These questions and theories drive through the whole play, which alternates between the early 19th century (1809-1813) and the present day, where we find the descendants of Thomasina’s family, the (grown) children (Grace Gummer and Noah Robbins) of the current Lady Croom, as well as two visiting scholars (Billy Crudup and Lia Williams) doing research, in the same room. The set never changes, only the time period. One of these scholars is trying to piece together some of the events we have observed or heard described by the 19th century inhabitants and getting it thoroughly, comically, wrong. One of the descendants, Valentine (Raul Esparza), is working on some of the same theories that Thomasina worked on, having found her notebooks, only with the advantage of a computer to make the many calculations.

Two times at the same time: Bel Powley, Raul Esparza,

Lia Williams and Tom Riley

One could go into much greater detail about the specifics of the plot, but they are not truly what the play is about. Rather, Stoppard examines several fascinating and generally dichotomous themes, ideas, and questions. These include the relationship between the past and the present and between order and chaos- finding order within chaos and then chaos upending order. It’s about the challenges of historical research and the hazards of bending facts to fit theories instead of developing theories to fit the facts. It’s about the distinctly "human" quest, unending, for knowledge and understanding. And ultimately the play is about understanding that these dichotomous things and concepts can exist simultaneously. Stoppard uses the (overlapping) set, costumes, lighting and props (designed, respectively by Hildegarde Betchler, Gregory Gale and Donald Holder), and even the characters themselves to illustrate this idea. The play closes with the room occupied by the 19th century and current day characters, dressed similarly due to a period costume ball in the current day, a young actor (Noah Robbins) in dual roles thereby occupying both eras simultaneously, waltzing around the room. They are different, yet much the same, existing in the same space, and for a moment, however illusory, in the same time.

Top: Before: Margaret Colin

Bottom: After: Grace Gummer and Billy Crudup

A week and half since attending Arcadia, and I am still thinking about these ideas but less so the characters. This leads to me think that the play/production does a better job putting forth good ideas than creating interesting characters. The only two characters who have truly stuck with me are Thomasina and Septimus. This isn’t all that surprising, given how important they are, but it’s a little disappointing. I enjoyed both actors’ (Bel Powley and Tom Riley) performances very much. I also quite liked Edward Hyland’s performance as the butler. It’s not a large role, but the butler is important to the passing of information and,  therefore, the actions that stem from it. He was very funny. Raul Esparza was a primary reason I wanted to see Arcadia, as I’m a big fan of his, but I think he was miscast. I didn’t find him convincing as Valentine - he was just sort of "there."

Then: Bel Powley and Tom Riley

Now: Lia Williams and Raul Esparza

The audience response, at least in the orchestra, was positive. The witty dialogue got strong and frequent laughter. A fair amount of people gave a standing ovation. I didn't overhear many negative comments during intermission or on my way out of the theater. Not all audiences are the same, obviously, but mine seemed to enjoy it.

Edward James Hyland and Tom Riley

If you are looking for a play where sitting back and letting it just wash over you is enough, keep looking because this isn’t it. In this case, knowing what you want and what you’re in the mood for makes a big difference. But if you’re willing to put forth the effort the play demands, Arcadia, however imperfect, can be a satisfying, intellectually stimulating, entertaining night at the theatre.


(Photos by Carol Rosegg)
 
If you've seen a show on or off Broadway, or a National Touring company of a show that I haven't covered, please write to me and we can arrange for you to be a possible Guest Blogger!

Comments? Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.214