From England, to Hollywood, to the Great
White Way – come back to a time when a laugh was the most important thing, when
the world shined a little brighter, even if it was in black and white. Chaplin the Musical provides a charming
insight into one of history’s greatest comedians, and what you may not know is
that The Tramp was only the beginning. And, as with any great dish, Chaplin provides that secret ingredient
that hits the Great White Way with a spice that has the audience coming back
for more.
The show tells the rags to riches story of
Charlie Chaplin (Rob McClure) and his break into the movie business. He
journey’s to Hollywood to take a chance at the “flickers,” leaving behind his
brother Sydney (Wayne Alan Wilcox) and his mother, Hannah (Christiane Noll).
Chaplin, becomes swept up in the radically different environment he has found
himself in and must now create “something funny” to soothe his new director,
the ever demanding Sennett McGraney (Michael McCormick). And thus, The Tramp is
born, and thrives – despite Chaplin’s failed marriages, and ever changing
contracts. The show takes the audience through Chaplin’s rise to fame and his
fall during the Red Scare. At the head of the accusations against Chaplin sits
Hedda Hopper (Jenn Colella), a budding Hollywood reporter who is furious for
Chaplin’s refusal to be a guest on her radio show. Yet, through all the turns
and tribulations Chaplin finds love in Oona O’Neill (Erin Mackey) and their
loves holds fast as the two face the end of an era and a whole new world of
laughs.
Rob McClure (Avenue Q) leads
this talented cast as Charlie Chaplin. Multitalented does not begin to
describe, McClure. It is more accurate to say that this wonderful actor has so
many tricks up his sleeves that one could wonder why they aren’t bigger.
Between chair juggling, tap dancing on roller skates, and tight rope walking,
McClure could have been a show all on his own; and, not to mention, the
detailed physicality that McClure displayed when performing as The Tramp. It
was if Chaplin himself was on stage, which is the whole point, no? His vocal
quality, while not the ringing tenor that Broadway has become so used to
hearing, provided a new, interesting sound that gave life to an otherwise
silent story. McClure excels in his performance and gives the audience a taste
of one of America’s greatest comedic minds.
At the head of the Chaplin family stands
Hannah Chaplin, the mother, played by the fantastic Christiane Noll (Urinetown).
Noll gave a beautiful depiction of Chaplin’s mentally ill mother, becoming a
winding country road that had a new discovery at each bend. Having much of her
story told in flashback, Noll portrayed a decline into insanity that tore at
the heart. She had a warm, loving touch to her voice that provided a consistent
motherly touch to both Chaplin and the audience. When she wept, the audience
wept, and what incredible talent it is to have the audience experience what the
character experiences, not only physically, but emotionally as well. Brava.
Comind out of the same household was actor Wayne Alan Wilcox (The Normal
Heart) who provides the supporting net to McClure as Sydney Chaplin.
Throughout the show Wilcox becomes the rock that supplies a sense of wisdom in
a chaotic world, the classic vanilla scoop in this black and white sundae. His
depth and passion provided a strong contrast to the otherwise shallow world of
the movie business. Wilcox provided passion and dedication to the role, both
strong characteristics in the character of Sydney himself. The audience walked
away remembering Chaplin’s brother, who symbolized his roots and provided the
path back to reality for the artist.
Hedda Hopper, played by Jenn Colella (High
Fidelity), provided a new meaning to the term villain; Colella was lively,
mischievous, and a fun to watch. Keeping the audience engaged with her luminous
vocal quality. Colella sits in that ever famous category of the villain we love
to hate. In the simplest terms, Jenn Colella was fun – fun to watch, fun to
listen to, fun to be involved with. She was engaging, pulling the audience into
her point of view. The pure power she conveyed as Hedda Hopper was pure magic,
and her voice just added dimension to an admirable character. Her performance
was a true wonder. Leveling out the evil with some kindness was Erin
Mackey (Anything Goes) as Oona O’Neill. She offset Chaplin’s comedic
chaos with a sweet, innocent wisdom that was refreshing to see amongst the
cast. Not only was her vocal talent light, and seemingly effortless, but the
chemistry between Mackey and McClure was magical. Able to take serious dialogue
and seamlessly mix in comedic banter, McClure and Mackey have the makings of a
wonderful Broadway couple.
The cherry on top of this magnificent sundae
would have to be Zachary Unger (Off-Broadway’s Merrily We Roll Along), who gave a remarkable performance as a
Young Charlie. The ability to reach the deep emotional levels at such a young
age was incredibly impressive, and it doesn’t hurt that he is cute as a button!
Unger is a talented young man and we look forward to seeing where his promising
career will lead him.
Christopher Curtis (television’s A Wedding Story) and Thomas Meehan (The
Producers and Hairspray)
provided the Book, Music and Lyrics. The thing that was great was that unlike
any other new musical on Broadway, Chaplin’s
music did not over power the depth of the book. Although a lot of the music
wasn't memorable, the music and book were very well put together. Warran
Carlyle (Hugh Jackman: Back on Broadway) directed and choreographed this
visually stunning production. Although the choreography seemed out of place at
first, it created a great way to show passing time and traditions; but, the big
show stopping number was the Charlie Chaplin Look Alike Contest, where Carlyle
through in tons Little Tramp acts such as: the hat spinning on the cane,
causing havoc on rolling skates, and the ever famous Dancing Little Man. Job
well done!
The design team for Chaplin appeared to have
an incredible collaboration going on because the tech was truly inspiring. When
thinking about Charlie Chaplin, people tend to thinks about not only silent
movies, but black and white silent movies. Everything from the huge set pieces
to the minor detail of the drinks was put in black, whites and grays.
Beowulf Borritt (Rock of Ages) was responsible for this inspiring set.
Borritt created two worlds inside of each other, One where the "Making of
Chaplin" was being filmed in a studio, but also the entire world inside
following Chaplin through life. Ken Billington (Scottsboro Boys) was the
light designer. Even the lighting was done in all "Black and White" –
with pale blues and ambers to keep the
audience drawn in. The costumes were done by Martin Paklendinaz (Nice Work
If You Can Get It) and Amy Clark (Second Stage’s Animals Out of Paper), and were stunning throughout the entire
show. Paklendinaz should be proud that
his last show came out so beautifully, Broadway is going to miss your
exceptional designs.
"Come see Charlie Chaplin!" His
rise and fall will make millions laugh, cry, and stand with admiration. Chaplin
is here to stay, so don't miss out and head to the Ethel Barrymore Theater to
catch the "Little Tramp!"
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