Al Hirschfeld Theatre
Tuesday, January 31
7PM performance
Though not a perfect production (over-choreographed, adequate direction), Trish and I decided it was worth a cheap TDF ticket to catch Nick Jonas' performance in the current revival. We passed on Darren Criss' three-week limited engagement as Finch. He's cute in a twink sort of way, but if his talk show appearances are any indication of his stage charisma, he's probably as exciting to watch as my crock-pot except without the promise of a tasty meal afterwards.
I was actually pleasantly surprised by Jonas' stage chops. I know he started out as a musical theatre kid (though at the ripe old age of 19, I guess he's still a kid), but you'd not have guessed it from his completely forgettable, though earnest, performance in the televised Les Mis concert last year. In truth, I was fully prepared for a good ol' Broadway train wreck. An occasional dose of schadenfreude is good for the soul, says I!
Yes, the distracting chin vibrato he displayed in Les Mis is still there - someone get him a vocal coach before that turns into a 80-year old opera singer wobble - but he seemed completely at ease and natural on stage. He doesn't (yet) possess the overwhelming charm of Daniel Radcliffe, but he's competent and funny.
The rest of the production is still in great shape though I'm still baffled at some of the odd non-period movement and the addition of choreography to just about every musical number. I mean, what is the point of making "Company Way" into a dance number? To me, it comes off as a director not trusting the material to stand on its own. Instead of listening to the lyrics, you end up watching two chorus boys pass envelopes back-and-forth and hurl packages with their feet. Does this really help the audience better understand the characters or illuminate the story? Nope.
Though I appreciated Chris Hanke's "non-traditional" (i.e. not gay) Frump, Michael Urie's more foppish interpretation seemed a better fit for the material. Rose Hemingway's Rosemary nearly bored me into a stupor the first time around, but she's grown immensely since previews and charmed me on second viewing. Beau Bridges is a much more understated Biggley, but doesn't quite match the quirky fun of John Laroquette's original performance. I loved Tammy Blanchard's Hedy first time around, but her slightly wobbly, boozy physicality has grown into a weird, constant bodily tremor.
And yes, I'm still way behind with reviews and postings and it's already March! Stay tuned...
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