The Heidi Chronicles @ The Music Box Theatre

The Heidi Chronicles, although a long haul at two and a half hours, still shines thanks to a poignant script and stellar cast.

The Heidi Chronicles (directed by Pam McKinnon) depicts the life of art historian Heidi Holland (Elizabeth Moss), starting at high school in the 1960’s and spanning the next two decades.  While experiencing the changes of Vietnam, the growing feminist movement, and the chronic narcissism of the 1980’s, Heidi struggles with the question “Can women really have it all?”  Along the way, she relies on her longtime friend Susan (Ali Ahn), a charming gay pediatrician Peter (Bryce Pinkham), and her womanizing onetime lover Scoop (Jason Biggs).

Moss shines as Heidi, giving every line all she’s got, and bringing the audience to laughter one moment and tears the next.  She perfectly depicts the complexity and struggles Heidi experiences throughout her life.  As Scoop, Biggs delivers what may well be his best work.  His attitude as the self-important, usually loathsome, and often right Scoop resonates through the performance, helping the audience understand exactly why Heidi bothers to keep someone so self-serving in her life.  Pinkham brings both charm and raw emotion to the stage as Peter, the only person who truly challenges Heidi outright about her escapist attitude.  Ahn’s performance as Sarah is on-point, depicting a wonderfully lighthearted character that often captures the spirit of each time period perfectly.  Also featured in the cast were Tracee Chimo, Leighton Bryan, Elsie Kibler, and Andy Truschinski, each giving strong performances which furthered the delight of The Heidi Chronicles even further.

It’s worth noting that, although The Heidi Chronicles (written by Wendy Wasserstein) first premiered in 1988, it retains its freshness and vitality, still poignant for today’s audiences.  It not only forces us to reflect on the role of women in the decades portrayed, but leaves audiences with an opportunity to view the ways society has both changed and stayed the same with regard to the way women are viewed and view themselves.  It also conveys a wonderfully relevant portrayal of the evolution of queerness and how being queer is viewed in our society.

Technically, Heidi is a delight to watch, as John Lee Beatty (Scenic Design) makes fantastic use of the space with a set that should be listed as a character in and of itself.  Jessica Pabst (Costume Design) presents an array of costumes which brilliantly transport us to each of the depicted time periods.  

Overall, The Heidi Chronicles is a worthwhile and immensely enjoyable drama with both deeply poignant moments and sharp, witty jokes, delivered all but perfectly by a truly exceptional cast.

Review By: Jacob R. Hines
Photos By: Sara Krulwich

Pippin @ The Music Box Theatre

                  

                 Just over 40 years after its original run, Pippin makes a colorful return to Broadway for 2013, with a fresh new look. Set in a circus tent, the production takes a magical new twist to the classic musical. With illusions, tricks, stunts, and acrobatics throughout the show, it is an experience that feels both relevant and modern. This new production pays homage to its roots, with choreographer Chet Walker (a cast member  of the 1972 production) recreating Fosse's original choreography. However it still feels fresh, current, and original with the addition of circus director Gypsy Snider's phenomenal visual feats. The Players are made of equal parts dancers and acrobats, so there is always something incredible and beautiful to look at onstage. It wouldn't be Pippin without the signature "Fosse style" of dance, which now almost looks like it was made to go alongside trapeze artists and contortionists.  "The Manson Trio," one of Fosse's most well known pieces of choreography, is recreated in its entirety, but now instead using male dancers behind the Leading Player. Every single moment contains outstanding visuals, with Players performing amazing acts unlike those seen on the Broadway stage before. Trapeze work, Aerial Silks, lifts, and flips are woven into the classic choreography to create beautiful imagery for the stage.   

               Pippin's main cast, made of both Broadway Mainstays and Newcomers, are what brings the production together as a whole. Matthew James Thomas(Spider-Man: Turn Off the Dark) is an extremely likable Pippin. He brings a humble quirkiness to the character that makes one fall in love with him almost immediately, and  his pop-style vocals give an unique twist to Stephen Schwartz's score. He is just awkward enough that it is endearing, stumbling and stammering his way through the first act, and the audience bursts into cheers once Thomas reveals serious dance skills early in Act Two.  Although it is not a new concept, Patina Miller(Sister Act) shines as the Leader Player, a role usually portrayed by a man. She commands the stages from the moment the words "Join us" leave her lips at the top of the show. Miller's ease onstage is reminiscent of Ben Vereen's portrayal, with a graceful feminine twist as the circus' Ringmaster. She makes the perfect opposite to Thomas; the two work off of one another to create moments that are both humorous and intriguing, especially in the Act Two opener "On the Right Track." Husband-and-Wife Broadway veteran team Terrence Mann(Beauty and the Beast) and Christine d'Amboise(Carrie) portray King and Queen duo Charles and Fastrada. Mann brings wit to the usually dry role, and d'Amboise's dancing is captivating. Andrea Martin(Young Frankenstein) as Berthe is the stand out of the veteran cast; she steals the show during her song "No Time at All," bringing both some laughs as well as few surprises (which you need to see to believe!).

            What this revival achieves, and what sets it apart from most other productions, is that it has successfully made the entire show both enjoyable and entertaining. Songs that are usually not as favored by audiences, like "Extraordinary"  are now show-stoppers.  "Morning Glow," the Act One Finale, is more powerful than ever before. Each new song outdoes the last, which is no easy task. From the colorful set and costumes, to the strength of its cast, to Schwartz's classic score, Pippin is a production that is meant to be seen by all audiences, both young and old. It is a spectacle, to say the very least. Pippin is the kind of production that will make young audiences fall in love with live theatre, as well as remind seasoned theatergoers why they fell in love so long ago.

Review By: Kelcie Kosberg

Private Lives @ The Music Box Theatre

What happens when two former lovers, who are recently divorced, accidentally bump into each other on their honeymoons with their new spouses? And, toad to the drama, they are in the exact same hotel room, next door to each other! In Noel Coward’s Private Lives, Kim Cattrall (Sex in the City, Wild Honey) and Paul Gross(Sail Away) take the audience by storm and lock them in to watch this rollercoaster of a relationship.

Glamorous, rich, and reckless, Amanda (Kim Cattrall) and Elyot (Paul Gross) have been divorced from each other for five years. Now both are honeymooning with their new spouses in the South of France. When, by chance, they meet again because they just so happened to have rooms right next to each other. They end up meeting on their hotel balconies where their insatiable feelings for each other are immediately rekindled. They hurl themselves headlong into love and lust without a care for scandal, new partners or memories of what drove them apart in the first place...for a little while, anyway.

Gross is magnificent as a cad; handsome, dismissive, entitled and with a cowardly nasty streak that allows him to think it's just fine to slap around his wives, but won't fight back when a man challenges him. But, it's Cattrall, who starred in this in London before the production came here, who wows. Cattrall’s depiction of Amanda is sensual and stubborn, smart and brave. Just as Sybil was a product of her time, thinking she could manage through manipulation, so was Amanda, whose open-mindedness was hardly unknown during the Jazz Age. The two of them work very well together, had great comedic timing and had us believing they were in a screwed up relationship all these years. Simon Paisley Day is perfect as a stiff upper crust man and wonderfully dull as Amanda's significant other. Anna Madeley(The Philanthropist) is an incessant talker as Sybil, Elyot's new wife, driving the poor chap mad. All four actors came together and truly gave the performance of their lives. They all worked very well together, and were able to play off of each other in a way that felt very natural and real.

Although the acting talent was extraordinary, the technical aspect was less then exceptional. David Howe (The Norman Conquests, Primo) was responsible for the so called light design. Although the lights had the audience believing they were smack dab in the middle of a soap opera, the actors kept walking in and out of dark spot, taking the attention away from what was going on onstage. Rob Howell (Her Naked Skin, Buried Child) was wearing two hats during this production, scenic and costume design. Although the two of them went together very well, one seemed to have gotten more attention than the other. In this show there are two places where the actions happen, One, on a hotel balcony in France and the second in Amanda’s apartment in Paris. Amanda’s apartment was very well executed but seemed to appear too modern for the 1930’s and the hotel set had a ton of sight line issue. The biggest issue was the front balcony rail that obscured the faces of the actors if they sat down. Maybe these issues wouldn’t have been over looked if the designer only on one aspect of tech.

Private Lives is now playing at The Music Box theatre until December 31st 2011. If you don’t have a ticket, WHAT ARE YOU WAITING FOR! You do not want to miss out on this awesome night of entertainment.

Review By: James Russo

La Bete @ Music Box Theatre

What do a classical actor, an idiot “savant,” and a princess all have in common? Well, they all star in David Hirson’s hilarious play La Bête which gives us a behind the curtain look at an acting troupe in France in the year 1654. With rhythmic dialogue, a hilarious cast, and stunning technical elements, La Bête is one play that should not be missed!

La Bête tells the story of a weakening royal acting troupe in France led by master playwright and performer Elomire (played by David Hyde Pierce). Elomire, completely unaware of the troupe’s recent down fall, is about to be thrown for a loop when The Princess (played by Joanna Lumley) orders Valere (played by Mark Rylance), a street performer, to join Elomire’s troupe. The chaos flies as a true battle of the brain ensues, as the professional and the clown go head to head.

La Bête is brought to life on stage by a cast of ten brilliant performers. All work well with together, playing of each other’s spot on comedic timing and high energy. The star and ultimate scene stealer of the show is Mark Rylance (of Broadway’s Boeing–Boeing) and the idiot “savant” street performer. There are not enough words to describe Rylance’s brilliantly hilarious extraordinary performance. An actor’s worst fear, nine times out of ten, is having to memorize long monologues. To call the close to twenty minute uninterrupted monologue that Rylance delivers towards the beginning of the play “long” would be the understatement of the year. For most actors, the task of delivering this epic speech eight nights a week for months would be close to impossible; however, Rylance does it with ease and style. He had the entire audience on his side throughout the entire delivery and never had them bored once. There is no doubt that a Tony nomination will be coming his way this year. It was just an all around brilliant and comedic acting gem. Rylance is the main reason for people to run to the Music Box Theatre and go see La Bête. Working alongside Rylance are two other big stars. David Hyde Pierce (of television’s Frasier and Broadway’s Curtains) delivers a wobbly performance as the high class troupe leader that absolutely despises the presence of Valere. While Pierce has some great moments on stage, his overall performance fell slightly flat. When interacting with others on stage Pierce would come to life and deliver some great one liners and moments of thought; however, during the wonderful monologue delivered by Rylance, Pierce often appeared to lose focus and presence on the stage. This caused the audience to not want to support his character as much towards the end of the play, which is a slight flaw. The other big star is Joanna Lumley (of television’s Sapphire & Steel and Absolutely Fabulous) who plays the theatre loving and spoiled Princess. Lumley gave a ravishing and hilarious performance. She was able to beautifully show both sides of typical royalty, the elegant and the childish. Lumley was even given a toy doll, dressed like herself, to use every time that she began to act childish. This was a really nice touch that brought her character to a higher level which, in return, made the audience fall in love with her. La Bête also has a wonderful supporting cast headed by Stephen Ouimette (of film’s Heater and television’s Slings and Arrows) and Greta Lee (of Broadway’s … Spelling Bee). Ouimette played humped back actor Bejart, and was a marvel to watch on stage. His high energy and focus made the audience want to watch him even when he was not speaking. Lee played Dorine, the housemaid who will only say words that rhyme with the word “do.” Being forced to reduce to pantomime to communicate, Lee did a beautiful job with her physical movements and was hilarious to watch. La Bête’s cast was all around brilliant.

La Bête featured some brilliant work behind the scenes with a brilliant book, a stunning set, great lighting, a wonderful score, lavishing costumes, and simple – yet effective – special effects. The script for La Bête, written by David Hirson, was absolutely wonderful. Not written in standard English, La Bête has beautiful poetry and rhyme too it; however, it does have its moments where it breaks this theme and does something off the wall. These mini moments fit in well with the rest of the script and were and interesting touch to a beautifully written show. With scenic and costume design by Mark Thompson, La Bête really popped off of the pages of the script. The set was simple but beautiful. The floor to ceiling book cases (that opened at the top and close of the show to add a special kick to the show) were stunning to look at and really helped set the tone of the play; all around stunning. The costumes were elegant and really helped show the different personalities of the characters by having the joyful characters (The Princess and Valere) in bright colors while the rest of the cast was in simple black and white. This touch was enhanced even further with the stunning lighting design done by Hugh Vanstone. He chose to keep those same joyful characters and have them followed with consistent bright light. This creative touch really added that special something to the show. Working alongside the set, lighting, and costumes were really simple, yet effective, special effects. The highlight of this came during The Princess’s entrance when what appeared to be a storm of gold glitter attacked the stage. This simple touch really set introduced the character perfectly and was a great addition to the show. La Bête was really aided by the work of Claire Van Kampen whose original score really brought France to life. Used throughout the play at different pivotal times, the score was used perfectly to really help advance the story. La Bête’s technical crew did a wonderful job of bringing 1600s France to life.

La Bête is a must see show that is great for not only adults but college students as well. With tons of crude jokes and slapstick comedy, everyone is sure to love La Bête. Make sure to get to the Music Box Theatre on Broadway before La Bête ends its limited run on January 9, 2010. Run – do not walk – to go see La Bête!

Review By: James Russo & Ryan Oliveti

 

Lend Me a Tenor @ Music Box Theatre

The new Broadway revival of Lend Me a Tenor, written by Ken Ludwig, is the perfect example of what happens when eight comedic geniuses, led by an all star director, get together to put on a show. Lend Me a Tenor is comedic dynamite that delivers laughs from start to finish. It is a must see production!

Lend Me a Tenor tells the story what happens when the great Italian opera singer Tito Merelli (Anthony LaPaglia) comes to Cleveland for a one night only performance of “Otello.” Through a series of door slamming events, Tito is mistaken for dead leaving Saunders (Tony Shalhoub), the Opera’s General Manager, with no other option other than to put his assistant, Max (Justin Bartha), in as the understudy. What happens next is a series of mistaken identities that is nothing short of hilarious. Who said what to whom? Who slept with whom? Who know what? Julia (Brooke Adams), the Chairman of the Board, claims to have convinced Tito come to the after party. Saunders daughter, Maggie (Mary Catherine Garrison), and the leading lady, Diana (Jennifer Laura Thompson), both claim that they slept with Tito at the same time. The bellhop (Jay Klaitz) claims to have received an order from Tito. On top of all of this confusion, Tito’s crazy tempered wife, Maria (Jan Maxwell), comes back into the picture after having left him in the beginning of the show. So, who was talking to the real Tito and who was actually talking to Max in disguise? Well, you will simply have to go see the show for yourself.

While all eight actors give truly hilarious performances, Lend Me a Tenor is powered by its three leading men. Anthony LaPaglia, known for his run on the CBS series “Without a Trace,” delivers a beautifully funny performance. LaPaglia had a way of commanding attention on the stage that made you constantly want to pay attention to every little thing that he did. Known for being a more dramatic actor, LaPaglia definitely proved that he has a funny side as well; his comedic timing was spot on. There is no better fit for the part of Tito, the hot headed and womanizing Italian, than LaPaglia. Tony Shalhoub, known for his wonderful run on the USA series “Monk,” delivers a non-stop high energy performance. With pitch perfect comedic timing, Shalhoub has the audience eating right out of his hands (with the audience receiving the random bits of plastic food that he spits out into the audience). Shalhoub is a comedic genius that fit the part of the easily angered manager perfectly. Justin Bartha, known for his portrayal of Doug in the hit comedy “The Hangover,” makes his Broadway debut in Lend Me a Tenor. Bartha was absolutely brilliant and held his own amongst the slew of seasoned Broadway greats. His portrayal of the over worked assistant Max was absolutely stunning. Barely ever leaving the stage, Bartha was able to anchor the entire show without missing a beat. With not only great comedic timing but a great singing voice as well, Bartha made his debut with a bang. While it is a man’s show, one woman steals the spotlight every time that she is on stage. This is of course the wonderful Jan Maxwell, a Broadway great who was nominated for a Tony Award for this performance. While Maxwell is only in two scenes, she is so fantastic that she received the loudest round of applause during the curtain call. She is the perfect fit to play the crazy, loud, and jealous Italian wife of Tito. In three words, Maxwell is brilliant.

The technical elements of Lend Me a Tenor were very good, but did have some weak spots. The scenic design, however, was not one of those spots. Designed by John Lee Beatty, the set was absolutely stunning. Designed with stunning detail and precision, it is definitely one of the best sets to hit Broadway this season. Another high point came in the costume design. Designed by Martin Pakledinaz, the costumes held true to the 1930s time period that the play is set in. Together, the set and costumes allowed the audience to travel back to the 1930s and fully enter the world of Lend Me a Tenor. One weak spot came in the lighting design. Designed by Kenneth Posner, the lighting has several dark spots in which the actors would sometimes not be lit. Also, the scenic design featured a huge window, but the lighting designed worked against it by never changing the brightness of the outside city (there was no difference in light weather it was 10:00 A.M. or 11:00 P.M.). However, the audience was willing to look past that because of the beautiful direction of Stanley Tucci, known for his outstanding career in movies and television. Tucci made his stage directorial debut with this production and did a fantastic job. While there were some flaws in his direction (like allowing the actors to sometime talk into walls and break fourth walls that had been established), Tucci did an overall wonderful job with his debut.

Lend Me a Tenor is a wickedly funny show that is a must see for everyone. While it may not sound like the typical show that a college student would go see, I promise that you will not regret it. The humor is extremely current with plenty of sexual innuendos to go around. And, if worse comes to worse, you can at least say that you saw one of the stars of the mega college hit “The Hangover.” Have no fear, Lend Me a Tenor is one of the shows that provide the cheaper rush tickets for students. Run, don’t walk, to see the hit Broadway revival of Lend Me a Tenor (playing at the Music Box Theatre through August 15, 2010).

Review By: James Russo & Ryan Oliveti