Back-to-back “Rocky”s

Rocky the Musical
Winter Garden Theatre
Thursday, Feb 13, 8PM &
Friday, Feb 14, 8PM

I’ve never been a huge fan of the Rocky franchise but the mere thought of a new Ahrens & Flaherty score is enough to get me drooling in anticipation. That, and the fantasy of A&H writing a new Witches of Eastwick musical starring Audra (in the Cher role), Carolee Carmello (in the Sarandon role) and Kate Baldwin (in the Pfeiffer role). Never gonna’ happen, but a girl can dream.

Tonight’s performance was the first official preview since last night’s performance was canceled due to electrical issues caused by all the salt and melting snow. In a brief pre-curtain speech, director Alex Timbers explained that the two huge metal beasts humming outside the theatre on Seventh Avenue are actually industrial generators. That’s right, ConEd, a little electrical issue isn’t gonna’ stop Philly’s finest from making his Broadway debut.

Timbers also warned that the show might be stopped at any moment to ensure the actors' safety given the technical demands of the massive multiple moving set piecess. I briefly envisioned Rocky Balboa flying Spider-Man-style above the stage, whacking into the side of the proscenium and then slowly sliding down the side of the stage.

But I couldn’t luxuriate in my schadenfreude-induced fantasy for long. The houselights dimmed and the iconic trumpet fanfare (interpolated from the movie) blared through the speakers. The audience expectedly roared its approval. And truth be told, hearing that music coupled with the crowd’s reaction got my adrenaline pumping as well.

The show itself is a fairly straight forward adaptation of the movie by original writer, Sylvester Stallone (with an assist from veteran book writer, Thomas Meehan). The turtles, the raw eggs, the “Yo, Adrienne!”’s and the Art Museum steps are all there – no surprises. 

Straight adaptions usually bother me but perhaps I was feeling unusually sentimental on this pre-Valentine's Day evening, because the shared audience familiarity was oddly comforting. I mean, it’s Rocky after all, not King Lear.

Though the score lacks the sweeping power of A&F’s previous efforts, it possesses a simplicity and sweetness that seems entirely appropriate for these blue collar characters. Though I’ll admit I did find myself waiting for the evening’s “Wheels of a Dream.” Sigh. Maybe I'll get my anthem fix in their upcoming Little Dancer.

The physical design is pretty spectacular with hulking set pieces fluidly (at least at the first preview) moving around and above the ant-like cast. Even a rafter-descending rack of beef sides gets enthusiastic audience applause.

And then there's the climactic final boxing match. Possibly the most exciting 15 minutes of staging I've witnessed in the last 10 years of theatre-going. I won't spoil it, but if a real fight is anywhere near as thrilling as what happens at the Winter Garden eight times a week, count me in for ringside seats at Madison Square Garden.

Of course, I may have been slightly influenced by the unusually vocal audience that seemed made up of the cast's friends and family and comped Equity members. After the show I even ran into an old actor friend who mistook my straight twink theatre companion for my boyfriend. As if. I don't date anyone born after the first Back to the Future movie was released. A lady needs to maintain some standards.

Photo courtesy of Broadway.com

And I almost forgot. Sly himself took a bow after the curtain call to congratulate the cast in his unmistakably slurred Stallone speech. The man does look good, if a bit "pulled."

Déjà vu - Rocky, take 2

With the upcoming President's Day weekend holiday, Juan and Val planned a staycation in the city. And after my freakish raves about Rocky's final fight scene, Val immediately bought us all TDF tickets for Friday night's performance.

Of course, Val hadn't realized it was also Valentine's Day, so instead of spending a romantic evening with Juan, she had to settle for a not-so-intimate evening with me, my "date" Dylan (another voice teacher at the conservatory) and the other 1500 or so audience members at the Winter Garden.

I'm a total musical theatre dork, but even I have never seen the same Broadway show two days in a row. I guess I can now graduate to theatre Queen - with a capital "Q" - which I assume entitles me to a longer red velvet cape and at least an added be-jeweled scepter.

While yesterday's first preview was technically flawless, the second preview - not so much. Several automated pieces malfunctioned and had to be moved manually by stage hands. The actors gamely improv-ed to cover some really awkward pauses and missed scene changes - most notably a missing set of lockers that set up a running gag through the show.

The stage manager then had to stop the show mid-way through act one for about 10 minutes to reset two large moving walls that decided they liked where they were sitting.

An important prop went missing in the second act - the Christmas tree topper that was supposed to be the button of Rocky and Adrienne's big Act 2 love duet.

Oh well, the magic of live theatre!

Other then the technical issues, the show played pretty consistently based on yesterday's first preview. Though Andy Karl seemed much more vocally secure the second night (first performance seemed to suffer a bit from opening night nerves causing some minor pitch issues). The rest of the performances were solid to good.

Rocky certainly is no Ragtime or Once on this Island, but it's a solid evening of fun nostalgia for those of us who can still remember the 80s. It's also the perfect "straight" guy musical (if he can sit still through the more traditional first act). But there's no denying the real star performance in this production - the awesome set and Alex Timber's direction.

Into The Woods at McCarter

Into The Woods
Fiasco Theater Company @ McCarter Theater
Sunday, May 26, 7PM

It's been a couple of weeks and my memory ain't what it used to be, but I think I can muster up enough coherent thoughts on this extraordinary production to write a review.

As I posted previously, Fiasco's stripped-down production is pretty much perfection.  It's creative, surprising and moving in ways that I don't necessarily associate with Into The Woods.  Most productions seem to emulate (i.e. copy) the well-known original Broadway production's lavish design and feel or else ignore the material's dark undercurrents in favor of twee preciousness.

This production takes place on a bare stage decorated with discarded piano parts and strewn with dusty old relics you might find in grannie's attic.  But in the whimsical hands of the cast and with a little imagination, these garage sale finds transform into trees, towers and birds.

The upside to this stripped-down approach is that it focuses our attention on Sondheim's pithy lyrics that expound on complex themes of family and responsibility.  I'm very familiar with the show, having directed it as well as been forced to sit through many a tedious production, and Fiasco has managed to make the scenes and songs seem fresh and the quick, dense lyrics intelligible to my jaded ears.

The cast of 10 (I'd actually include pianist, Matt Castle - who, incidentally, I replaced in a show many, many moons ago - as an 11th cast member) play all the roles, creating some hilarious doubling opportunities.  Some even do triple duty, supplementing Castle's piano accompaniment by playing random instruments scattered about the stage.

It seems redundant for me to continue my review considering Brantley's capture my thoughts so well in his review in the New York Times.  So I'll just list some of my favorite moments and leave the critical dissection to the pros.

• Double casting the princes as Florinda and Lucinda.
• Using shadows to represent the Giant's murder.
• Having the entire female ensemble speak/sing the role of Cinderella's mother.
• Creating a communal feel by eliminating the narrator and distributing his lines to the cast so that it seems like a group of storytellers re-enacting the events for us rather than us just watching a play.
• Re-orchestrating the music for Jack's mother to give her character a more folk/country feel.
• Andy Grotelueshen's comedic use of a cowbell as Milky White.
• Staging "On the Steps of the Palace" as if Cinderella were actually stuck on the steps.

Sure, the singing voices aren't always optimal, but the trade off is an emotional clarity and depth that, in this case, transcends a perfect belt.  Though I won't lie, I would sell my left nut to hear Carolee's "Last Midnight."  A girl can dream.

Cinderella on Broadway (finally) and my other musical obsession (sorry Audra)

Cinderella
Broadway Theatre
Thursday, March 7, 7pm

I have just two words for you – Victoria Clark.  She could add class to a mud wrestling tournament at the Alabama State Fair.  But I’m getting ahead of myself. 

With all the talk about a glossy new book and a modernized, empowered Cinderella, Trish and I took our seats in the nosebleed section (thanks, TDF) expecting a hot mess.  Instead, we were happily surprised to find the charming core of R+H’s show still intact. 

For the show’s first Broadway mounting (it was originally written and produced as a TV special), the R+H estate decided to gussy up the original by tossing out the existing book and raiding their own catalogue to fill out the score. 

Okay, some of the added left-leaning rhetoric is a bit heavy-handed.  A new character, political rabble-rouser Jean-Michel, seems to have wandered onstage from a touring production of Les Mis.  Regardless, I was still charmed by the production. 

You’d think hiring the campy Douglas Carter Beane (Little Dog Laughed, Xanadu and the screenplay of To Wong Foo…) to write the new book would all but guarantee that at least one of the stepsisters be played by a drag queen snapping, “You best clean out that fire place, gurl.”  Thankfully, he’s turned downt the camp factor several notches in favor of a healthy smattering of hilarious, if anachronistic, one-liners.

Granted, Beane’s sometimes self-referential, snarky writing style isn’t exactly a perfect fit for the earnest simplicity of Hammerstein’s lyrics.  But I’m sure the only thing the producers had in mind was how to keep a new generation of audience member reared on South Park and The Simpsons, to sit still for two hours.  A prime example of this degradation of audience etiquette came during the first act finale when the woman sitting directly behind us answered her cell phone. 

“I’m at a show.  No, I’m actually in the theatre watching a Broadway show right now.   Sorry, I can’t talk because it’s distracting to the people around me.”

I shit you not.  Moving on…

The familiar plot remains essentially the same though the King and Queen have been axed in favor of an evil counselor for the prince, one stepsister is now sympathetic to Cinderella's plight and there is now a romantic sub-plot between the "good" stepsister and Jean-Michel.

As for the physical production, it's all about the costumes.  The onstage transformations are off the hook.  Torn rags somehow instantaneously morph into voluminous gowns.  The moment Prince Topher sets eyes on Ella in her first white gown (yes, Beane’s gone for a hipper shortening of both the lead characters’ names), I was practically verklempt - though not really a surprise considering I cry at the opening of a Walmart.

When the Fairy God Mother presents Ella with a pair of glittering Italian glass slippers, some crazy queen in the balcony actually gasped out loud, causing a wave of tittering across the theatre.  And no, that queen was not me.

Just hand William Ivey Long the Tony now for his costume designs.

Laura Osnes’ Cinderella is sincere, charming and refreshingly irony-free and she sings the score beautifully.  Santino Fontana (Prince Topher) may not have traditional leading man looks (though from our rear balcony seats he looked just fine), but he has a boyish, goofy charm and sense of humor that won me over.  And that voice.  Dreamy.

I already mentioned Victoria Clark, but I need to gush again because her voice is just perfection.

My ultimate fantasy?  Victoria Clark, Audra McDonald and Carolee Carmello singing “I Will Never Leave You” from Side Show as a trio.  I dare you to come up with a combination that tops that on the gay-meter.

Carolee

Many of you know about my un-holy obsession with Audra MacDonald.  But many of you may not be aware of my other, more subtle fanaticism for Broadway singer/actress Carolee Carmello.  Unlike Audra, Carolee doesn’t appear on a weekly National TV show (yet) so her adoration by the masses may not quite be so ubiquitous. 

Last Thursday as Trish and I wandered through the Bryant Park Holiday Shops (exiting the Kate Spade booth to be exact) we stumbled upon the tree lighting ceremony.  The usual cute (but awful) school groups performed as well as casts from a couple of Broadway shows.  No biggie, right?  Well, after the cast of Rock of Ages screamed through a couple of 80’s covers, the MC started the following introduction: 

MC:

Next up is a Broadway actress who’s starred in Mammia Mia, Lestat…

Me (squealing like a tweener at a Justin Bieber concert):  

CAROLEE CARMELLO! 

Yes, I know, that very well may have been the gayest moment of my life.

Regardless, Trish and I were giddy with delight as the many tourists around us surely wondered, “Who the hell is Carolee Carmello and why are these two crazy Asians flipping their shit?”  They obviously have never experienced the magic that is Carolee. 

I, of course, was hoping for her crazy high belt version of “Do You Hear What I Hear.”  (See below and listen through the end for the juicy belting.)


 
Instead, he announced “Oh, Holy Night.”  Even better.  Trish whipped out her cell phone and started filming the historic event.  You’ll have to check back soon when Trish’s figured out how to download the video so I can post.  We give a blow-by-blow complete with cut-away shots of our facial expressions.  Priceless.

Needless to say, Ms. Carmello was fabulous even though her last belted “di-VINE” was a little wonky.  But hey, it was cold outside. 

If you ever get a chance to see her in action, do not miss it.