Golden Age

Golden Age

City Center Stage 1

Saturday, January 12, 2pm 

I’m trying to catch up on some missed reviews, so although it’s been weeks since Trish and I saw Golden Age, I’ll try to wring my aging brain for recollections. 

First off, thank you TDF for a lovely set of third-row, center orchestra seats!  All the better to view Lee Pace in all his dreamy glory. 

The opera purists and fact-checkers in the audience will likely take issue with Terrance McNally’s fast and loose interpretation of history (not to mention the musical and verbal anachronisms).  But no matter, this is a comedy about the creation of art, not a historical drama, and McNally creates a believable backstage microcosm where the plentiful use of modern four-letter profanity doesn’t seem out of place. 

Lee Pace - did I mention how dreamy he is? - has the charm and charisma to make the egocentric Bellini a likeable, even sympathetic, figure.  He’s a man that is never satisfied musically (or sexually, for that matter).  Pace plays these proclivities with a refreshing matter-of-factness.

Bebe Neuwirth, as the diva Maria Malibran, is the only character in the play that is completely aware of her incredible talent as well as shortcomings.  She accepts and acknowledges the decline of her voice, yet is the only artist lacking in self-doubt. 

Malibran’s appearance - in flaming red gown, natch - may not be the most subtle symbol, but opera queens will recognize the comparison McNally offers.  What is most preferable, a perfect technique lacking in emotional depth or a flawed instrument connected to a vibrant emotional core?  Po-tay-to, Pa-tah-to - though from my interpretation, it seems McNally endorses the latter.

Though at times the script reads like a high-concept sitcom, McNally plays with the inherent insecurities of performers and artists, while scrutinizing the audience's ideas about art and the creation of art.  

It's an enjoyable afternoon with an eccentric group of characters, but I wish McNally had either pushed the comedy further into true farce territory, or gone a much darker route with the psychological breakdown of Bellini and/or the dueling sopranos.

Shakin’ his Broadway Bon Bon - Ricky Martin in Evita

Evita

Marriott Marquis Theatre

Saturday, Jan 5, 8pm

Menudo!  Gotta' love the 80s!

No, Ricky does not play Eva in the current Broadway revival (check out that mullet!).  Although I’d definitely pay premium prices for the sight of those waxed pecs in the white “Don’t Cry for Me Argentina” gown.  And after spending an intense afternoon with Benjamin Walker’s repressed Brick, Trish and I decided a night spent with everyone’s favorite Latin dish would be just the ticket for a cold winter night.

I don’t know what voodoo witchcraft he prescribes to, but that Ricky just gets better looking with age.  I mean, he’s so glaringly attractive that you almost don’t notice he can’t act.  Perhaps I’m just a bit critical, having played the role myself years ago with staging based on the original, brilliant Hal Prince concept. 

Ricky looks and sounds wonderful, has charisma to spare and his accent adds some extra sex appeal, but he’s basically just being Ricky Martin.  I didn’t sense he had a strong connection to the story or that his character had a discernable point of view.  He also loses points for his generic “robot arm” acting gestures.  But since he’s so dreamy, I’ll give Ricky the benefit of the doubt and blame the director for any shortcomings.  I mean, if you cast a pop star with limited acting chops, you’d better direct the hell out of him or have him shirtless throughout.  Am I right, ladies?

Of course, the Latin-heavy tourist crowd (the opening cell phone announcement was made in both English and Spanish) could have cared less about silly details like acting.  And given the very loud chatter throughout the show (in Spanish, btw, so I’m not just making broad racist assumptions), most of the crowd didn’t even realize they were in a Broadway theatre and not casually lounging in their living rooms.  The gentleman next to me was literally chanting “Peron” along with the cast.  I kid you not.

Many in the theatre chat rooms have complained about Elena Roger’s vocal deficiencies.  Granted, hers is perhaps the ugliest, shrillest voice in the history of Broadway leading ladies - and that’s being generous.  Despite that, by the middle of the first act I had warmed to - or at least gotten used to - her odd vocal quality and actually quite enjoyed her performance.  Let’s face it, the show is basically a check-list of historical events with little character development inherent in the script and score.  And still, Roger’s manages to provide a thrilling, three dimensional performance without belting any high notes -- though they are sorely missed.  Her Eva is strong yet sympathetic, making her act two decline particularly moving.

Like Roger, Michael Cerveris elevates his material well beyond what on paper is a very sketchy characterization.  Though I must admit, to my ears his basso profundo always seems faked and artificial.  It doesn’t have the true bass-baritone ring of a George Hearn or James Barbour.  I guess you could say the artificiality adds to his characterization of a manipulative politician.  Or you could say he’s just faking it.

Even though I take swipes at the script and score, Evita is actually my favorite Andrew Lloyd Webber show.  It’s concise, driving and contains some of his best melodies.  When performed well, the show is visceral and exciting to watch.  But because the characters aren’t intrinsically sympathetic, it takes a great director/choreographer to make the show work.

If you don’t know the original Hal Prince staging or are only reading this review to find out if they’ve added a Che nude scene (no such luck, folks), then you can probably stop reading now. 

In no particular order, these are my specific observations of the staging and production values given my familiarity with the material and original staging (warning: spoilers ahead and probably really boring if you’re not an Evita-phile).

• For the most part, I liked the tango inflected choreography, especially in the opening “…Circus” and “Buenos Aires.”
• Tempos, especially in the first 30 minutes of the show are deathly slow and kill any momentum inherent in the rock and Latin rhythms of the score.
• The set is gorgeous, but clunky.
• Cutting the opening scene in the movie theatre is a mistake.  The scene gives the audience a frame of reference as to how much the common Argentine folks loved Eva Peron. 
• The original musical chairs concept for “Art of the Possible” makes much more sense than the weird, tango fight staging in the current production.  The point of the scene is that Peron’s ascent to power is random, like winning a game of musical chairs.  The staged fighting doesn’t nearly convey this point as clearly.
• In the original staging of “Waltz for Eva and Che,” the two dance but never touch.  To me, this is a much stronger choice since it emphasizes Che’s role as an observer, not participant.  It also visually symbolizes Eva’s wish to separate herself from her humble beginnings.
• The ensemble choral singing is superb. 

Neutered “Cat…” and Benjamin Walker's lucky towel

Richard Rodgers Theatre
Saturday, Jan 5, 2pm performance

I didn’t think it was possible, but somehow the director of the latest Broadway revival of Cat On a Hot Tin Roof managed to reduce the oozing-with-sex Scarlett Johansson into a nagging, “Real Housewife of Atlanta.” 

I’m actually a ScarJo fan and Maggie seems like a perfect fit, but her performance here is…what’s the word? -- Brash?  Un-nuanced?  I mean, even with those big pouty lips and booty, other than her accent, there’s nothing remotely sexy or “Southern” about her characterization.  In fact (spoiler alert), if Brick is gay, he might actually be turned on by this steam-rolling Maggie.

Anyway, I think the play works better when Maggie uses her sexuality to manipulate her circumstances.  It makes her character more interesting.  And really, the play is called Cat on a Hot Tin Roof, not Badger on a Hot Tin Roof or Rabid Cat on a Hot Tin Roof.  As it stands, you wonder why Brick married her at all.  She seems like sort of a bitch.

Oh, to be Benjamin Walker’s towel.  It's amusing watching him try and nonchalantly “tuck” it around his privates anytime he sits down.  He seemed a bit under-energized in the first act but he grew on me as the play progressed.  It was a matinee, so I’ll throw him some slack.  Did I mention he looks good in a towel?

The director, Rob Ashford, is - surprise - gay!  No kidding - a de-sexualized Maggie, a shirtless Brick and an added “ghost of Skipper” character who Brick longingly stares at throughout the play.  It’s called “subtext” for a reason, folks.  Instead, we’re bludgeoned in the face with a pink sledgehammer.

For me, Ciaran Hinds and Debra Monk (Big Daddy and Big Mama, respectively) fare best in this revival, though Monk tends to lose her accent when she gets emotional.  The rest of the cast is adequate, but again, don’t seem the least bit “Old South.”  Having lived in Richmond, VA, which isn’t even considered the “Deep South,” I found not a whiff of recognition for any of these characters.  And trust me, I’ve known my fair share of manipulative, two-faced, Southern Belles/Bitches.

Sadly, I think this production is a missed opportunity.  On paper, the cast seems ideal, but I think the director has molded the performances in a way that doesn’t jibe with what’s on the page.  Oh well, it seems like Cat… gets revived every couple of years.  So I’m sure we’ll be getting the Selena Gomez-Justin Bieber production in 2015. 

Reviews 2012

• Radio City Christmas Spectacular
• Giant (OB)
• A Christmas Story (Bway)
• Scandalous (Bway)
• The Mystery of Edwin Drood (Bway)
• The Performers (Bway)
• Who's Afraid of Virginia Woolf? (Bway)
• Bring It On: The Musical (Bway)
• Closer Than Ever (OB)
• Chaplin (Bway)
• Forbidden Broadway (OB)
• Red Dog Howls (OB)
• L'Elisir D'Amore (Met)
• Ghost the Musical (Bway)
• Peter and the Starcather (Bway)
• Venus In Fur (Bway)
• Clybourne Park (Bway)
• Other Desert Cities (Bway)
• Dogfight (OB)
• Empire (Spiegeltent)
• Porgy and Bess (Bway)
• Leap of Faith (Bway)
• Carrie (OB)
• Once (Bway)
• Jesus Christ Superstar (Bway)
• Wit (Bway)
• Merrily We Roll Along (Encores!)
• How to Succeed (Bway)
• On A Clear Day (Bway)

2013: A Balloon Odyssey

After gorging ourselves on a seven-course, Tom Colicchio New Year's Eve dinner, Trish and I bade farewell to Val and Juan and made the treacherous voyage home, balloon in hand.  Will we - and Trish's balloon - make it home unscathed?  Follow our amazing journey below (Just click the arrow).