A Magnificent MULAN From Class Act Productions

Posted on March 2, 2012 by

Cast of MULAN (Photo by Len Bates)

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There are times in a critic’s life when one can barely believe the good fortune of witnessing something so extraordinarily splendid on a stage. Last weekend’s Class Act Production of Disney’s MULAN was a case in point. If we were on Broadway we might chalk the experience up to yet another great Broadway show. But this was not Broadway; it was the Center For The Arts Theatre at The Woodlands campus of Lone Star College, right here in Montgomery County, Texas. There was magic on that stage last Sunday, and I was blessed to be a part of the audience that witnessed it.

The story of Mulan, for those not acquainted with the Disney animated film, revolves about a young girl by that name in ancient China. Starring brilliantly in that lead role was young Emily Hammer, whose sweet voice would be on full display in such charming songs as, “Reflection.” Mulan’s mother (Sabra Leong) and Grandmother (Katherine Barlow) hope to find her a husband via the ornery village Matchmaker (Gabi Lechtig-Martinez). But the plot finds the Huns invading China and the Emperor (Drew Gerlach) has demanded that one male member of each family must join the army to fight the invaders.

Front row L-R Zachary Pratt as Chi Fu, Greyson Higginbotham as Captain Shang, Emily Hammer as Mulan, and Devin Cherry as Mushu (Photo By Len Bates)

Chi Fu (Zachary Pratt) is the cruel Chinese bureaucrat, who comes to execute that order in Mulan’s village, but Mulan’s father, Fa Shu (Jesse Bates) is the only male in her family and he is old and ailing. To protect him Mulan undertakes to disguise herself as a boy so she can fight in his place. But more significant than the story line is the exquisite detail that director, Tina Kraft, has brought to her realization of the tale for the stage. Amid the perfectly synchronized soundtrack of haunting music from the Far East (Musical Director, Rae Moses), the curtain rises on dramatic blood-red lighting (Blake Minor, designer) and the loveliest entrance procession of Oriental children since The King & I, all dressed in the exquisite Chinese costume designs of Caroline Zirilli. And that was just the beginning.

The lovely triangulated set design of Kent Hale easily rotated scenes from rugged mountains to cherry blossomed gardens, and could have perfectly decorated the most elegant Chinese restaurant. But the food we had from this production was food for the soul, with its rich expression of ancient traditions and the values of respect, honor, and strong devoted families. It seemed in many ways an instructive lesson for our time that had traveled across the ages. A chorus of five ancient “Ancestors” (Kamryn Mattingly, Kristin Wight, Julie Lewis, Shelby Thompson and Katherine Turner) presides above the stage and guides us on this musical journey.

The Ancestors & Mushu the Dragon (Photo By Len Bates)

And what lovely music it is, with such charming songs as, “Honor to Us All,” and “Written in Stone.” This cast performed all the songs with a musical purity that perfectly echoed the cultural purity of the play. Better still, the songs were most often accompanied by the exquisite dance designs of choreographer, Clay Moore, that were beautifully executed by this large and very talented cast.

Emily Hammer as Mulan and Devin Cherry as Mushu the dragon (Photo by Len Bates)

The Ancestors allow a special little dragon named Mushu (scene-stealer, Devin Cherry) to prove his worth by accompanying Mulan and keeping her safe during her adventures. Miss Cherry is a delightful “ham” and brought considerable hilarity to the proceedings with her comical performance as the dragon. She is every inch the sassy showstopper leading the cast in the delightful, “Keep ‘Em Guessing.” She lights up the stage, and I hope we will see more of her in future productions.

During her military adventures Mulan is under the command of handsome Captain Shang (Grayson Higginbotham), while the Hun invaders are led by the ruthless Shan-Yu (Jesse Bates).

Ready for Battle (Photo By Len Bates)

Mulan and her fellow soldiers perform the fun-filled, “A Girl Worth Fighting For,” and Mulan cleverly causes an avalanche that seems at first to have buried the Hun enemies. Director Kraft brilliantly conceived that avalanche scene here, with a dramatic rush to the stage of snowflake dancers appearing through the audience, while snow-like sheets covered the Huns. It was beautifully done, and reminded me of the highly stylized performances I saw from Kabuki Theatre in Tokyo during a trip to Japan. The Hun defeat was then celebrated with a colorful and joyfully staged “Dragon Dance,” featuring ribbon dancers and lively choreography from the full cast.

Cast of MULAN (Photo By Len Bates)

It wouldn’t be long before the whole theatre erupted in joy as the cast dazzled us once more with a finale of the popular song, “Kung Fu Fighting.” A young child seated behind me was squealing with delight, and if we adults had any sense we would have done the same. I am reminded of one line in the show where Mulan is told, “You have brought honor to us all.” That, in my opinion, is what Class Act Productions and producer Keith Brumfield have done for this community.

MULAN has music & lyrics by Matthew Wilder, David Zippel, Stephen Schwartz, Jeanine Tesori, and Alexa Junge. Music was adapted and arranged with additional music & lyrics by Bryan Louiselle. The book was adapted with additional lyrics by Patricia Cotter. This production was based on the 1998 Disney film, MULAN, and on the book, “Fa Mulan” by Robert D. San Souci.

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MILLION DOLLAR Time Machine at Houston’s Hobby Center

Posted on March 1, 2012 by

The National Tour of Million Dollar Quartet (Photo By Joan Marcus)

It would not be until the 17th song of the evening that the audience would hear the Carl Perkins tune, “Party,” but in every other way the party for Million Dollar Quartet began the moment the curtain went up last Tuesday on Opening Night at Houston’s Hobby Center for the Performing Arts. With book by Colin Escott & Floyd Mutrux, this latest in the GEXA Energy Broadway Series is above all a concert, but it has a sharp theatrical side as well. Mutrux developed the original concept and serves as director as this production presents the tale of the one-night gathering of four of rock-n-roll’s legendary figures, Elvis Presley (Cody Slaughter), Carl Perkins (Lee Ferris), Johnny Cash (Derek Keeling), and Jerry Lee Lewis (Martin Kaye). They were brought together by their Memphis mentor, promoter Sam Phillips (Christopher Ryan Grant), the owner of Sun Records. It was there that they all got their start, and there that on this December night in 1956 they would all take yet another step toward the Rock and Roll Hall of Fame.

In the role of Phillips, Mr. Grant does a superb job of guiding us along during a story that consists mostly (and very effectively) of the songs that made these stars famous, while also focusing on the interesting relationships between them. We see the piano wild man, Jerry Lee, and Mr. Kaye’s performance captures both Jerry’s flaky spontaneity and his insecurity at not feeling as respected as the guitar players. We see the friction between Elvis and Carl that resulted from Elvis having a big hit with the “Blue Suede Shoes” song that Perkins felt would have been his hit, had it not been for an accident that interrupted his career. We learn how big money offers from the RCA and Columbia record companies are pulling the stars in new directions. The feisty Sam Phillips had already earned the title, “King of Fools” by selling Elvis to RCA for forty thousand dollars, and now he is distressed to learn that both Cash and Perkins are moving on to other deals. Jerry Lee remains and vows that he, too, will make it big. Ain’t that the truth? And Sam comforts himself with the knowledge that he has just signed, “…a funny looking guy named Roy Orbison.”

But all the while this story is revealing itself, the audience is being bombarded by the very best of early rock-n-roll from four performers who so closely resemble the look and sound of the real stars that you would swear you were present for the original jam session. Deep-voiced Keeling is the perfect Johnny Cash and seems to vocally supply his own built-in echo chamber. Handsome and hip-swinging Mr. Slaughter has the innocence, good looks and great sound of the early Presley. They are in great vocal company with the solid sounds of Mr. Ferris as Carl Perkins. And for sheer delicious rock-n-roll lunacy and fun we have the dazzling piano work and wild vocals of Mr. Kaye as the hyper-active Jerry Lee. Chuck Zayas on bass and Billy Shaffer on drums round out the sweet musical sounds that will fill the night.

For readers lucky enough to get any of the few remaining tickets, here is a sampling of the musical joys that await you. There is a rockin’ opener with a full company rendition of the aforementioned, “Blue Suede Shoes.” Jerry Lee offers a very wild, “Wild Child.” Perkins sends up a powerhouse, “Matchbox,” and follows with the thundering pulsations of, “Who Do You Love?” that fill the room. Keeling brings authoritative command to a truly remarkable take on the Cash classic, “Folsom Prison Blues,” under dreamy violet lighting.

Things then take a turn to the feminine side with the arrival of Elvis’ shapely and beautiful girlfriend, Dyanne, played with seductive grace by the velvet-voiced and verysexy, Kelly Lamont. She let loose with the steamy Peggy Lee classic, “Fever,” and the temperatures were definitely rising for the guys in the audience. Wow! Then Elvis dabbles a bit with Dino’s hit, “Memories Are Made of This,” but quickly shifts gears for an electrifying, “That’s All Right.” The four gents get the joint jumping when they team up for, “Brown Eyed Handsome Man,” and a touch of gospel music with, “Down By the Riverside.” Cash follows with bass richness as he sings, “Sixteen Tons,” and Perkins weaves in a bit of counterpoint magic joining with, “My Babe.” Elvis explodes with, “Long Tall Sally,” and then calms things down with a lovely, “Peace in the Valley.” Keeling does full justice to another Cash trademark with a stunning, “I Walk the Line,” and Miss Lamont returns for a soaring and fierce, “I Hear You Knocking.” With the festivities well underway, Perkins finally leads the company in the joyful energy of, “Party,” and really rocks the room.

National Touring Company of Million Dollar Quartet, photo by Jeremy Daniel

Jerry Lee maintains the pace with pounding fury on the eighty-eight for a, “Great Balls of Fire,” that is really great! That could have been the end as the guys left the stage amid the cheers of a standing ovation. But it wasn’t the end of this trip back through time as the stars suddenly reappeared in colorful and glitzy Vegas-style sport coats for a terrific series of encores. To quote another hit song, “Oh, What a Night!”

MILLION DOLLAR QUARTET continues at Houston’s Hobby Center through March 4th with 7:30pm performances Thursday & Sunday, 8pm performances Friday & Saturday, and 2pm matinees both Saturday & Sunday. For tickets & information call 800-982-ARTS or visit the website at www.BroadwayAcrossAmerica.com. 

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Comedy Perfection from Masquerade’s SCOUNDRELS

Posted on February 28, 2012 by

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It is no secret that Masquerade Theatre tops the list when it comes to musical comedy offerings for the city of Houston, but I would have to say that the comedy portion of that equation has never been funnier than in the company’s recent production of Dirty Rotten Scoundrels.

(L-R) Luther Chakurian, Michael J. Ross, Adam W. Delka PHOTO: Morris Malakoff

This musical edition has a clever book by Jeffrey Lane with music & lyrics by David Yazbek, all based on the 1988 film of the same name written by Dale Launer, Stanley Shapiro & Paul Henning. Several elements contributed to the success of Masquerade’s Scoundrels under the brilliant direction of Phillip Duggins. To begin with, the deliciously nutty plot offers the tale of two conmen that take pride in ripping off rich women on the French Riviera. Casting here was perfect with talented Luther Chakurian offering a cleverly droll performance as the slickly elegant con artist, Lawrence Jameson, while master of comedy, Michael J. Ross, played the hilarious role of Jameson’s foil and fellow conman, Freddy Benson. The comedy sparks that flew between these two Masquerade veterans shook the room with laughter, and there was added fun from the subtle performance of Adam W. Delka as Jameson’s bumbling assistant, Andre, who often reminds one of Peter Sellers as Inspector Clouseau.

The show opens on the glamorous (and sometimes smoothly gliding) Mediterranean set design of Amanda McBee. We are quickly swept up in the equally glamorous choreography of Laura Babbitt as the members of the “Magnificent 10” ensemble give us a peek at the upper classes enjoying their privileges as they dance divinely to the lovely Latin-flavored Overture. Lovely pastel gowns and dashing tuxedos highlight the elegant and stylish formal costume designs of Joseph Gunter as they add polish to this and many other scenes in the production. Kristina Sullivan gives a smooth performance as Muriel and her lush voice was immediately on display with the song, “What Was A Woman To Do?” The witty script is punctuated by chic ensemble dance transitions from scene to scene, devilish double entendres, and clever bits of nonsense like an usher popping up to address the audience from the orchestra pit. One line in the dialogue states that, “Lighting is everything,” and lighting designer, David Gipson, must have taken that to heart in planning his gorgeous illuminations of each scene. Dominique Røyem conducted the fine orchestra, and the amusing Mr. Ross served as the show’s musical director, but it is worth noting that there were a few times when orchestral volume overwhelmed bits of dialogue and lyrics that could not be clearly heard.

As the plot evolves, down-and-out Freddy convinces sophisticated Lawrence to be his mentor and teach him the ins and outs of conning the rich women of the Riviera. Freddy admires the wealthy lifestyle Lawrence has attained and he wants that for himself. Ross shows exceptional comedic skill as Freddy sings of his desire to acquire “Great Big Stuff,” in one of the most hilarious numbers I have ever seen on a stage. Ross “nails” the catchy tune and the zany comedy perfectly. This is a highlight of the show made even more so with brilliant staging for the merry ensemble of maids and butlers as they sing and dance while surrounding the uproarious antics of Mr. Ross. What a hoot!

Luther Chakurian & Lendsey Kersey PHOTO: Morris Malakoff

As if that was not enough fun, enter Lendsey Kersey in the role of Jolene, a wealthy cowgirl from Oklahoma. Kersey sparkles in the rousing number, “Oklahoma,” that launches the whirling choreography of a terrific hoedown from the ensemble. There was even a dancing cow that made it all seem most appropriate for the opening week of the Houston Rodeo. The laughs continue as Lawrence schemes to end Jolene’s plan to marry him by having Freddy pose as his lunatic brother, Ruprecht. This number, “All About Ruprecht,” was another showcase for delicious lunacy from Mr. Ross.

(L-R) Lendsey Kersey, Laura Babbitt, Kristina Sullivan PHOTO: Morris Malakoff

With Jolene out of the picture it was time for the entrance of another schemer in the person of presumed heiress, Christine Colgate, played here by our lovely choreographer, Laura Babbitt. Her breezy opening number, “Here I Am,” was a joy enhanced by more fine work from the ensemble, and Babbitt followed with a sweet-voice duet as she joined Mr. Ross for, “Nothing Is Too Wonderful To Be True.”

Adam Delka & Kristina Sullivan PHOTO: Morris Malakoff

The second act has no shortage of comedy as Freddy attempts to scam Christine by disguising himself as a handicapped soldier while Lawrence tries to undo that plan by posing as a doctor who can cure Freddy’s paralysis. The result is comic mayhem of the highest order. Andre and Muriel sing and dance the adorable, “Like Ziz, Like Dat,” and Lawrence and Christine perform the sensuous and elegant, “The More We Dance.” A resounding candle-lit choir accompanies Freddy & Christine for, “Love Is My Legs,” and Chakurian’s rich voice delivers a soft and satisfying, “Love Sneaks In.” There was a clever trick ending, and yes, there were plenty of pleasant songs well performed, but of this production it must be said that comedy was king. Bravo!

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Two Crightons For the Price of Fun

Posted on February 26, 2012 by

Courtesy Photo- Crighton Players

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Residents of the Conroe, Texas area may have been wondering about those peals of laughter rolling across North Main Street of late. Let me try to explain. On one side of the street at the Owen Theatre, the Crighton Players, now in their 45th year, have been celebrating their status (the longest running community theatre company in the state of Texas) with a just concluded production of Dan Goggin’s frothy musical comedy, Nunsense. On the other side of the street, at the Crighton Theatre, the Stage Right Players are currently presenting a riotous edition of Neil Simon’s very funny play, Barefoot in the Park that will keep the laughs coming through March 4th.

Nunsenseis a gentle spoof of a group of Catholic nuns who are merrily portrayed here by Brandi D. Baldwin, Yissel Carroll, Adena Sweeney, Sherry Rozas and Alexandra Casey. The sisters operate Mt. St. Helen’s School, and the action takes place in the simple set depicting the school auditorium. (Designed by the show’s able director, Travis Bryant.) The ladies displayed some fine singing with songs that are sometimes pleasing and sometimes not. (Musical Direction: Caleb Ackerman & Dave Englert).

Courtesy Photo - Crighton Players

What really propels the show are not the many cute, but forgettable, songs that no one would hum on the way home, but rather the cheerful nonsense from the nuns as they mingle playfully with the audience and weave their nutty tale of how their religious order evolved. Nunsense doesn’t have a serious bone in its body, but with a tap dance here (choreographer, Randy Bianchi), and a corny joke there, it projects a Vaudeville style of humor. The nuns even “passed the plate” church-style, and on the night I attended the audience reportedly coughed up several hundred dollars in support of the Montgomery County Animal Shelter. It was a nice way to support the local community while tickling the collective funny bone, and the Crighton Players will have more hilarity to offer with a production of You Can’t Take It With You running March 9th-25th.

For tickets & information call 936-539-4090 or visit: www.owentheatre.com.

Returning now to the ongoing delights of the uproarious Barefoot in the Park, director, Jillian Nolan and her fine Stage Right cast get a gold star in that arguably most difficult of all theatrical genres, comedy.

(L-R) Gerald Livingston, Patrick Slagle, Carolyn Wong, Richard C. Wilcox, Crys McClure & Steven Dowell PHOTO: Kylee Huddleston

The 1960’s action plays out on the set design of Katt Gilcrease depicting a very modest fifth floor walk-up apartment on Manhattan’s East Side. That was pretty close to home for me, as I resided in a fifth floor walk-up apartment on Manhattan’s East Side while a student at the American Academy of Dramatic Arts in the 1960’s. But my life then was not nearly as funny as Neil Simon’s witty play. Crys McClure and Richard C. Wilcox make a handsome couple as newlyweds, Corie and Paul.

Crys McClure & Richard Wilcox PHOTO: Kylee Huddleston

They take up residence in this small apartment that leaves much to be desired while supplying plenty of laughs. Both McClure & Wilcox demonstrate great comic skill in bringing Simon’s characters to life, and they get abundant help in that regard from Stage Right dynamo, Carolyn Wong, who brilliantly took over the role of Corie’s mother, Ethel, when actress Yvonne Owen Nelson was suddenly taken ill just before the show opened. (Wong confided that she has never seen such graciousness as when Ms. Nelson congratulated her on Opening Night and presented her with flowers of appreciation for standing in). Ms. Wong is well known as a gifted comedienne and those talents kept the audience screaming with laughter whenever she was on stage.

Patrick Slagle & Carolyn Wong PHOTO: Kylee Huddleston

That was never truer than when joined by Patrick Slagle as Victor Velasco, the oddball neighbor of Corie and Paul who lives in the attic above them. Corie would love to see her widowed Mom hooked up with Velasco, and that subplot keeps things hopping. Steven Dowell and Gerald Livingston add to the fun in supporting roles.

There is one later section of the play that sometimes becomes tedious when our young lovers begin quarreling amid Corie’s endless whining. But when her disillusioned Paul comes home intoxicated, Mr. Wilcox does one of the best drunk scenes ever and the laughs return. Why not drop by the Crighton and get your share of the laughter? You won’t be sorry!

BAREFOOT IN THE PARK continues through March 4th at the historic Crighton Theatre, 234 N. Main St., Downtown Conroe. Performances are Fridays and Saturdays at 8 pm with Sunday matinees at 2 pm. For Tickets & information call 936-441-SHOW or visit www.Stage-Right.org.

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Success and Failure from “HOW TO SUCCEED”

Posted on February 4, 2012 by

Nick Jonas PHOTO by Chris Callis

In many ways the show begins in the elegantly decorated entryway of New York’s Al Hirschfeld Theatre. It seems a fitting tribute to the renowned artist and theatre caricaturist for whom the theater is named, that three magnificent ceiling frescoes greet arriving patrons wise enough to look heavenward upon entering the lower lobby. Then come the stunning displays of the late Mr. Hirschfeld’s many delightful theatre-themed caricatures that so often graced the pages of the New York Times and other publications, but now decorate the walls of the upper lobby. Once inside the theater itself, the audience is embraced by the gold leaf and art deco grandeur adorning both ceiling and walls. Then it is on to the merry overture of Frank Loesser’s classic musical spoof of corporate ladder climbing, How To Succeed In Business Without Really Trying. With the smooth musical direction of David Chase, the audience began to settle down from the buzz of anticipation probably associated with what would be the first matinee performance from  pop music icon, Nick Jonas (The Jonas Brothers), a new member of this cast that includes Emmy Award-winning actor Beau Bridges. Jonas assumed the lead role of J. Pierrepont Finch, a young window cleaner conniving to rise to the top of the corporate world with the aid of a little book titled, (You guessed it!) “How to Succeed in Business Without Really Trying.”

With a Manhattan skyline backdrop, a beaming Jonas has the ultimate grand entrance as window-washing Finch descends from the heavens on his scaffold for the lively title tune that opens the show amid the hustle and bustle of busy employees at the corporate headquarters of the World Wide Wicket Company. In that opening number his solid singing voice was a pleasant accompaniment to his boyish good looks and radiating charm. Those assets will no doubt assure future audiences a fair share of teenage girls and adult “cougars.” Meanwhile, popular newscaster, Anderson Cooper, adds a comical touch. While Cooper does not appear on stage, it is his recorded voice that supplies the amusing voice-over narration of text each time Finch is reading himself a passage from his little how-to book. Another bit of comedy is supplied each time Finch momentarily freezes gleefully in a bright spotlight whenever he gains a sudden insight into how to gain advancement in the company. Jonas carries off those impish bits of comedy flawlessly.

Michael Urie as Bud Frump PHOTO: Chris Callis

Serving up assorted roadblocks to Finch’s success is one Bud Frump (Michael Urie of TV’s “Ugly Betty,” also new to this cast). Frump is the lazy nephew of company president, J.B. Biggley, (Beau Bridges), and feels his family connections should be reason enough for his advancement in the company ahead of Finch. Mr. Urie has been given perhaps too much latitude for heavy-handed comedy by director/choreographer, Rob Ashford. Urie supplies plenty of zany comic moments, but seems to work too hard at it, as though the audience wouldn’t be bright enough to get the jokes, and might prefer a cartoon character instead.

Rose Hemingway as Rosemary PHOTO: Chris Callis

A softer touch comes from Rose Hemingway in the role of Finch’s ultimate love interest, Rosemary. Her sweet, lilting delivery of “Happy to Keep His Dinner Warm” reveals her crush on the ambitious Finch, as well as her hope for suburban married life.

Director, Ashford, in an apparent attempt to capture the frantic energy in a busy company, seems to have evolved an equally frantic choreography. The show’s dance sequences often seem disorganized and unfocused as though everyone is doing his own thing. That approach was at least justifiable in the “Coffee Break” scene featuring the jangled nerves of office workers discovering the coffee machine is empty. The uncomplicated scenic designs of Derek McLane sometimes enhance the dancing with egg crate cubicles and sliding panels, all accented by the ever-changing lighting pastels from designer, Howell Binkley. The colorful ladies costumes were eye-catching as well, especially when ten of the secretaries show up at an office party in the same dress design (and Carmen Miranda headdress), while singing the humorous, “Paris Original.” (Costume Designer, Catherine Zuber.)

Another bright spot in the production comes from actor/comedian, Rob Bartlett, known to many for his association with the IMUS in the Morning radio program. Here he cheerfully plays mailroom supervisor, Mr. Twimble, and knocks one out of the park as he joins Mr. Jonas in a polished duet of the “Company Way,” while they are surrounded by more wandering choreography from the mailroom clerks. The comic characterization of Ellen Harvey as Biggley’s tough-as-nails secretary, Miss Jones, added to the fun and reminded one of comedienne, Eve Arden.

Tammy Blanchard as Hedy LaRue PHOTO: Chris Callis

And speaking of secretaries, there are plenty. We have Rosemary’s ditzy friend, Smitty (Mary Faber), and married Mr. Biggley’s girlfriend, the sassy floozy, Hedy LaRue (Tammy Blanchard), who Biggley would like to place on the company payroll. Aimless choreography continues to rule the day as the brash personnel supervisor, Mr. Bratt (Michael Park), cautions his staff while leading the ensemble in the rousing, “A Secretary is Not a Toy.” The dancing is no less disorganized when our adorable Finch tries to convince Biggley that they are graduates of the same college, “Grand Old Ivy,” and this rah-rah fantasy segment brings on the lumbering college football team to stomp around the singing duo.

Act Two opened with the toe-tapping secretaries offering lively relief in a “Cinderella Darling” that featured both pleasing choreography and more colorful costumes for the gals. But the dated and plodding plot of this 1961 show slows the progress.

Beau Bridges as J.B. Biggley PHOTO: Chris Callis

Mr. Bridges gives a fine performance as the philandering executive, but does not vocally advance the cause when he delivers a lackluster, “Love From a Heart of Gold” that suggests he might want to stick with straight plays in the future. But the staging of the men’s washroom scene was very well done with all the guys shaving at individual sinks that rotated smoothly within the scene as Finch and the gents gazed into mirrors and sang the show’s hit song, “I Believe in You.”

Nick Jonas as J. Pierrepont Finch PHOTO: Chris Callis

There was still some pirate quiz show nonsense to endure, as Finch becomes an executive with fresh ideas in the company’s Advertising Department. But eventually Mr. Jonas leads the cast in the familiar hit, “Brotherhood of Man.” The audience looked happy, so hopefully the cause of brotherhood had been advanced.

HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING has music and lyrics by Academy Award and Tony Award winner Frank Loesser, and a book by Abe Burrows, Jack Weinstock and Willie Gilbert, based on the book by Shepherd Mead.. Tickets range from $52 – $132, and are available at the Al Hirschfeld Theatre box office and at Telecharge.com (212-239-6200). The playing schedule is as follows: Tuesdays and Thursdays at 7pm, Wednesdays at 7:30pm, Fridays, and Saturday at 8pm, with matinees Wednesday and Saturday at 2pm and Sunday at 3pm.

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“CLEAR DAY” A CLEAR WINNER!

Posted on January 18, 2012 by

Harry Connick Jr. & Jessie Mueller (PHOTO: Palma Kolansky)

I came late to the party, having just seen Harry Connick Jr. in On A Clear Day You Can See Forever this past weekend. But after reading a recent rather harsh New York column regarding that show from a certain fellow critic of my previous acquaintance (met him during an American Theatre Critics convocation in Florida), I feel compelled to add my two-cents. In fairness I should mention that when a theatre critic has the pre-matinee opportunity to soak up the sunshine and special energy of the cheerful throng in New York’s Times Square on a January Saturday afternoon with the unheard of winter temperature of sixty-two degrees, it is bound to put that critic in a good mood. An hour later, when the St. James Theatre’s checkered curtain/panel rose on the oft-criticized show, my own good mood was only enhanced by this colorful and clever revival of the 1965 original from Burton Lane (music) & Alan J. Lerner (lyrics). That production, with its book also written by Mr. Lerner, lasted only 300 performances.

Harry Connick Jr. (Photo: Palma Kolansky)

But the show now sports a new Peter Parnell book that, while based on the original, brings an interesting contemporary twist to the plot. Combined with optically eye-popping staging, a fine cast headed by handsome pop crooner, Connick, and crisp direction from the show’s re-conceiver, Michael Mayer, we have a clear winner from On A Clear Day.

The solid overture (Music Director/Conductor, Lawrence Yurman) focused on the several more familiar themes in a show with many less familiar tunes.

Jessie Mueller & Harry Connick Jr. PHOTO: Paul Kolnik

The hypnotic atmosphere that is central to the plot is quickly established with the scenic designs of Christine Jones and lighting designs of Kevin Adams, that seem to combine throughout the performance to create a kind of grand and ever-changing optical illusion of whirling color. The concept seemed a bit off-beat at first, but soon became the perfect accompaniment to this tale of psychiatrist, Dr. Mark Bruckner, (Connick) and the young florist, David (David Turner), who seeks the doctor’s help (through hypnosis) in an effort to quit smoking so he can move in with his gay lover, Warren (Drew Gehling). We audience members are quickly drawn into the plot from the first moment as Dr. Bruckner steps forward to address us as the professional psychiatric convocation to which the doctor is explaining the extraordinary medical case of young David. As the doctor’s tale unfolds we learn the love of his own life has passed away some years before as Connick offers a tender rendering of the lovely, “She Isn’t You.” It was warm, embracing, Connick-at-his-best, and cast a Sinatra-like spell over the audience.

As the doctor’s lecture continues, we first meet the young florist tending his flowers in the shop and Turner opens with a vocally sweet, “Hurry! It’s Lovely Up Here.”

David Turner (PHOTO: Paul Kolnik)

Turner’s lighthearted portrayal gives us an earnest, yet innocent character to root for. When David’s friend, Muriel (cutely played by Sarah Stiles), first introduces the chain smoker to the doctor, the young man quickly proves to be a first-rate candidate for hypnosis. While under the doctor’s spell, David enters a past life regression revealing he was once a girl singer named Melinda during the big band era of the ’40’s. Perhaps it was at that point that some critics lost their way to enthusiasm for this production. The plot does require a willingness to suspend disbelief, but once that barrier is crossed, an intriguing adventure in reincarnation awaits. During each amusing hypnotic session with the doctor, David fades from view and the lovely Melinda (Jessie Mueller) emerges to take his place as the lad describes his past life as a chanteuse. Far-fetched? You bet! But it works — if you let it. The lovely Mueller is not only easy on the eyes, but sings beautifully as well. And speaking of eyes, her elegantly jazzy delivery of “Open Your Eyes,” was absolutely thrilling. The musical fun continues when we meet David’s gang of pals who, along with Muriel, make up the show’s cheerful ensemble for numbers like the merry, “Wait ’Till We’re Sixty-Five,” the rousing, “On the S.S. Bernard Cohn,” and the second act’s, “When I’m Being Born Again.” Granted, the choreography for such numbers (designer, JoAnn M. Hunter), while cute, is nothing to write home about. But lightweight choreography works quite well when Mueller’s silken-voiced, “You’re All the World to Me” evolves into an amusing trio-dance as she joins David and the doctor in a kind of ménage à trois ballet reflecting Bruckner’s growing infatuation with this singing phantom from the past. That infatuation becomes central to the plot as David begins to misinterpret the doctor’s affections for the elusive Melinda as being advances toward him.

Music continues to rule the day with Connick’s relaxed styling for, “Who Is There Among Us Who Knows?” In the role of Warren, the handsome Mr. Gehling serenades David

L-R David Turner & Drew Gehling PHOTO: Paul Kolnik

dreamily with the romantic, “Love With All the Trimmings,” a number he will give a soaring reprise in Act Two.

Kerry O'Malley as Dr. Sharone Stein (PHOTO: Paul Kolnik)

Meanwhile, Bruckner’s colleague, Dr. Sharone Stein (Kerry O’Malley) has eyes for the doctor herself, as becomes abundantly clear when O’Malley brilliantly anchors the ensemble reprise of “Open Your Eyes.” As for Miss Mueller, her warm and gentle song, “Melinda,” was the perfect accompaniment to her own glamorous and ghostly apparition at the close of Act One.

In Act Two, David’s continued hypno-therapy reveals Melinda’s big band debut as a 1940’s songbird. There is a nicely staged nightclub scene featuring fine backup singers in colorful costumes and hats of the period (Designer, Catherine Zuber).

Jessie Mueller as Melinda Wells PHOTO: Paul Kolnik

Melinda’s big number is a lively, “Every Night at Seven.” The entranced doctor then imagines stepping into her bygone world, as Connick joins her in singing the lushly romantic classic, “Too Late Now.” The song seemed to symbolize the frustrated romantic longings that are perhaps an all-too-common part of the human experience. Another dramatic highlight of the second act is the near-operatic quartet of, “(S)he Wasn’t You,” from Connick, O’Malley, Gehling and Turner. It was a showcase for four fine voices. Another vocally powerful moment comes when David discovers that Mark’s flirtations have really been with the Melinda of his subconscious and not with him. He lashes out with the stunning, “What Did I Have That I Don’t Have?” Stunning as well was the smooth, polished crooning of Mr. Connick’s, “Come Back to Me.” Gehling joins him in that song as Warren and Mark mutually pine for loves they fear they have lost.

There is a dramatic and almost Casablanca-like dimension to the final scenes and lovely finale, the details of which are best left to the discovery of future audiences. I hope there will be many. Meanwhile I am reminded of a discussion about reincarnation that I had years ago with colleagues debating its existence. “Absolutely!” declared my friend Arlene. “You have to keep coming back until you get it right!” One thing must be certain. Harry Connick Jr. will not have to come back. He really got it right this time around.

ON A CLEAR DAY YOU CAN SEE FOREVER continues through January 29th at the St. James Theatre, 246 W. 44th Street, NYC. For tickets visit Telecharge.com, call (212) 239-6200 or Outside the Tri-State area call (800) 432-7250. Discounts available for groups of 15 or more and Premium Tickets are also available.

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An Elegant Eliza Anchors Masquerade’s MY FAIR LADY

Posted on December 21, 2011 by

HERE_Houston_12-14-2011

Many decades have passed since I had the pleasure of playing Henry Higgins in our high school production of George Bernard Shaw’s classic comedy, Pygmalion. I could not have guessed then that I would one day be honored with membership in The Lambs Club. It was there, many years earlier, that two gentlemen named Alan Jay Lerner and Frederick Loewe had honed their skills as composers before producing the legendary Broadway musical, My Fair Lady, which was based on Shaw’s play. I had only once before had the opportunity to review that musical, but the Masquerade Theatre finally gave me another chance with its sparkling recent revival in the Zilkha Hall of the Houston Hobby Center theater complex.

The familiar plot centers around a poor cockney flower girl in London by the name of Eliza Doolittle. The girl is taken into the home of the pompous Professor Henry Higgins (Luther Chakurian), a phonetics scholar who believes he can pass her off as a proper lady by simply teaching her how to speak in the proper fashion of the upper class. Director, Phillip Duggins, had chosen his Eliza well with the selection of Kristina Sullivan. In many ways Sullivan was central to the success of the production, most especially by virtue of her superb voice for classic songs like the whimsical, “Wouldn’t It Be Loverly,” the proud and haughty, “Just You Wait,” the sharp-edged, “Without You,” and her memorable performance of a sublime, “I Could Have Danced All Night.”

Meanwhile, Higgins has support from his friend Colonel Pickering (Adam W. Delka) in the effort to transform Eliza into a member of the aristocracy. Much of the action takes place in Higgins’ library, and the scenic design of Amanda McBee was quite handsome. As Eliza makes a long-sought breakthrough in correct enunciation, the two gents joyfully join her in celebrating the success with a cheerful trio of, “The Rain In Spain.” Chakurian and Delka do well as these two partners trying to transform Eliza, though Mr. Delka did a bit too much unnecessary shuffling about, in an apparent effort to age his character. Chakurian does well overall as the eccentric Higgins, but he sometimes raced through Shaw’s wittiest lines too quickly to be clearly heard. Nevertheless his fine voice and pacing were clearly on display as he sang, “I’m An Ordinary Man.”

Cast of MY FAIR LADY Photo: MORRIS MALAKOFF

Adding to the best of the production were the fine support vocals of the energetic ensemble of household servants in aforementioned numbers like, “Just You Wait,” and “Wouldn’t It Be Loverly.” (The latter was beautifully reprised in Act Two with Eliza smoothly joined by the Cockney men’s chorus). The show’s choreography (designers, Laura Babbitt & Michelle Macicek) was somewhat lackluster and uneven, with a good deal of stomping around in numbers that seemed to be crowded into a strangely small area toward the front of the stage. Much more successful was the wonderful Ascot Race scene when Higgins attempts to present Eliza to polite society. With a hilarious performance from Miss Sullivan, it was beautifully staged with perfect snobbery for the aloof upper class attending the race, and deliciously extravagant black & white costumes and hats from designer, Libby Evans. That number was a knockout enhanced by bright lighting from designer, David Gipson.

While on the subject of lighting allow me to backtrack a bit and quarrel with the show’s dimly lit opening scene where the participants first meet among the crowd in front of the opera house. The scene seemed somehow unfocused as it was suddenly thrust at the audience without the anticipated delights of the show’s wonderful Overture ever being performed by the modest 6-member orchestra. (Musical Director, Michael J. Ross, Conductor, Dominique Røyem). This did not put the show on a solid footing at the outset. Other puzzles included the apparent omission of the pivotal scene in which Eliza is presented to a queen at the grand ball and scrutinized by a suspicious Hungarian phonetician. (While we never see the ball, her sparkling ball gown was a pip!) Perhaps Masquerade’s edition had been heavily edited due to the play’s considerable length, which could at times seem overlong and tedious when not rescued by the lush musical score.

In the role of Eliza’s trash-collector father, Alfred Doolittle, Dominic Abney was amusing at times, but Abney seemed too intent on manufacturing a gruff and gravely voice for Eliza’s conniving alcholic father. Some of his best lines flew by too quickly to be appreciated, but rousing songs like, “With a Little Bit of Luck,” and “I’m Getting Married in the Morning,” are always fun to hear, even if choppy choreography does not rise to the occasion. And speaking of fun, I cannot fail to mention the scene where Eliza tells the hilarious tale of her aunt who died of influenza. Sullivan’s flair for comedy is exceeded only by her silken voice.

Another silken voice was that of young newcomer to Masquerade, Cole Ryden. In the role of Eliza’s eager suitor, Freddy Eynsford Hill, his very natural and glowing delivery of the lovely song, “On the Street Where You Live,” lit up the room and was an exceptional moment in the show. If I know anything about star quality, this beaming lad and his soaring voice should be an important addition to  future productions of the Masquerade family.

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