Gigi @ The Neil Simon Theatre

Neil Simon Theatre’s Gigi was remarkable, and not because of Vanessa Hudgens. Director Eric Schaeffer was blessed with an incredible cast and decidedly talented scenic designer Derek McLane, costume designer Cathrine Zuber, lighting designer Natasha Katz, and sound designer Kai Harada. Heidi Thomas’ adapted play Gigi was a pleasing look into 1900 Paris; where all the Parisians are obsessed with love and we are privy to a journey to find out why.

The allure of 20th century Paris was accentuated by moving set pieces, miniature but nevertheless lifelike versions of the Eiffel tower, and adroit use of color and lighting. The stage was an impeccable enhancement to the performance.

This all-star cast was led by Vanessa Hudgens, whose vocal ability was amateur compared to her more seasoned supporting cast. This difference was mitigated by her comfortable portrayal of Gigi, a coming of age girl grappling with the truth of her lot—she must become desirable to secure comfort in her later years but resents this impending reality of her gender.

Corey Cott presented the reluctantly famous Gaston Lachaille. Equally disgruntled as Gigi over his expectations in society, Gaston would rather strive for furthering his mind than his loins. Enrolled into the Parisian obsession with love and love affairs, Cott fell into his role of Gaston with an ease that was reflected on the stage, his voice equally as strong as his compatriots.  

Gigi’s caretaker, affectionately known as Mamita by Gaston is masterfully played by Victoria Clark. Exceedingly deserving of her Tony award for The Light in the Piazza, Clark was met by resounding silence when she entered the stage. The beauty of her voice took any other from the room, my breath included.

Where Mamita was the affectionate grandmother that only wished for Gigi to aim for happiness instead of social status, her great aunt Alicia (Dee Hoty) had different aims for her niece. Tony nominated for Footloose, The Best Little Whorehouse Goes Public and The Will Rogers Follies, Hoty brought an easy lightness to the stage. High in chemistry with Clark, Hoty evoked laughter from the audience and assuaged us into her plan to force Gigi into a high status life, full of fights with lawyers and multiple men to mistress.

Close with Mamita in their distant past, the dapper Honoré Lachaille (Howard McGillin) was the uncle of Gaston. A “will not marry” man, Honoré propels his nephew into the limelight of his considerable fortune-backed fame and freedom to pursue many women. McGillin, perhaps best known for his record-setting run in The Phantom of the Opera, did not disappoint. Like Victoria Clark, McGillin’s voice and performance were exceptionally memorable.

Gaston’s most acclaimed mistress, Liane d’Exelmans was played by Steffanie Leigh. Only interested in the pursuit of Parisian high societal attention, Leigh pulled the eyes of the stage with her throughout her scandalous performance. Her presentation of the airy Liane was precise.

Gigi’s ensemble consisted of Justin Prescott (Charles), Amos Wolff (Sandomir), Ashley Yeater (Marie-Louise), James Patterson (Dufresne), Manny Stark (Bonfils), Max Clayton (Martel) and the Parisians (Preceding and Madeleine Doherty, Ashley Blair Fitzgerald, Hannah Florence, Brian Ogilvie, Tanairi Sade Vazquez).

The most notable was Justin Prescott as Charles; who portrayed the snooty butler. Prescott made a show of pulling chairs from under unsuspecting lawyers and other antics that I thoroughly enjoyed.

Also noteworthy, was Joshua Bergasse. Gigi’s dance sequences were a mix of traditional and laugh eliciting entertainment. His choice of choreography to announce gossip at Maxim’s was both disjointed and somehow perfect for the occasion.

See Gigi, it lives up to its hype.

Review By: Alexandra Lipari
Photos By: Margot Schulman

The Snow Geese @ Samuel J. Friedman Theatre

The 1900s come alive in Snow Geese, the world premier drama by Sharr White directed by Daniel Sullivan and starring Emmy and Tony award winner Mary Louise Parker.

Recently widowed, Emily Gaesling(Mary Louise Parker), had decided to throw her annual hunting party to honor her eldest son, Duncan(Evan Jonigkeit), on his deployment overseas and her late husband’s memory, despite the fact that his spendthrift ways have left the family buried in debt. She is determined to believe that they are just as well off as they always were, refusing to listen to her younger, more level headed son, Arnold(Brian Cross).

Mary Louise Parker is no stranger to the theatre and has been seen in such shows as Proof, How I Learned to Drive, Angels in America, and of course her award winning television show “Weeds”. Usually dynamic and volatile onstage, I found her performance to be somewhat stilted due to the mannerisms she had adopted for the role. The effect made her less personable and relatable to the audience eliminating any sympathetic feelings for her character.

 

Brian Cross made his confident Broadway debut as the younger Gaesling brother. His chemistry with his older brother made them a strong familial duo with Evan Jonigkeit proving to be a great example of a leading actor of our generation.  While Cross’s love story with the maid, Victorya(Jessica Love) a Central European refugee from a once prominent family, created empathy.

Worth mentioning, is Victoria Clark’s performance as the discreetly intervening sister, Clarissa, and her immigrant husband Max(Danny Burnstein), who despite being an American citizen for thirty years has been ostracized due to growing German hostility stemmed from the war. Heartwarming, engaging, and truly stunning are just a few words that come to mind to describe Clark and Burnstrein. Their story is heartbreaking and poignant.

Jonigkeit’s exuberance over “fixing” the problems overseas are sharply contrasted with Cross’s accounts of the rising casualties and Victorya’s personal accounts of hardship bringing to mind the harsh realities of war. The audience can’t help but draw a parallel between World War I and the modern day conflicts in the Middle East creating a drama worth talking about long after the curtain goes down.

The set designed by Tony award winner John Lee Beatty, was simply stunning. The set would rotate to create different dimensions throughout the play. I felt completely immersed into their world.  Japhy Weideman, the lighting designer, made the set come alive and set the mood perfectly.

Snow Geese is playing at the Samuel J. Friedman Theatre and is only running through December 15^th, so get your tickets now. 

Photos by: Joan Marcus
Review By: James Russo & Sarah Brown

Sister Act @ Broadway Theatre

Get out your habits! Find your rosaries! And, have your yard stick handy! Sister Act the Musical has arrived on Broadway! Based off of the hit 1992 film of the same that starred Whoopi Goldberg, now serving as the show’s producer, in the title role, Sister Act is back and funnier than ever. With all original songs by Alan Menken and Glenn Slater, this “divine” new musical shines as one of Broadway’s best new musicals. There is nun-thing else like it!

 This sacramental new musical tells the story of Deloris Van Cartier and lounge singer desperately trying to make it big. After discovering that her lover, Curtis Jackson, has no intention to leave his wife and make her a star, Deloris decides to pick up, pack up, and try to make it on her own. Before she can do this, however, she witnesses Curtis murder one of his own employees. Rattled by this, Deloris makes a break for it and runs straight to the Philadelphia Police Station where she is reunited with “Sweaty Eddie” Souther with whom she used to go to elementary school with; and, who is now working as the main investigator in this crime. Eddie quickly realizes that Deloris must go into hiding; and, he knows the perfect spot – the local convent. Led my Mother Superior and Monsignor O’Hara, this new hideaway for Deloris is facing problems of its own – nuns who want more in life, the danger of closing due to low population at mass, and a choir that is anything but heavenly. As different events unfold, every character is moved in unexpecting ways learning that God has a plan for each and every single of us.

This ensemble piece is led by the fabulous Patina Miller (stared as the original Deloris in the West End production of Sister Act) as the woman in hiding, Deloris Van Cartier. Miller takes the audience to heaven and back with her soulful voice, powerful acting, and stunning comedic timing. While making the part her own, Miller still pays homage to the work of the great Whoopi Goldberg. Her performance is fresh, upbeat, and an all around joy to watch. Playing opposite Miller is the old school Mother Superior played by Victoria Clark (Tony Award winner for The Light in the Piazza). Clark gives a glorous performance - allowing the audience to see all of the sides of this "tough cookie" - religious, stirn, doubtful, and caring.  Carrying the male side of things is Kingsley Leggs (from Broadway’s The Color Purple) as the leader of crime, Curtis, and Chester Gregory (from Broadway’s Cry Baby and Tarzan) as the knight in shining armor, Eddie. Leggs and Gregory give stunning performances as the ex and soon to be love interests of Deloris. Gregory brings down the house with his wanna be love ballad “I Could Be That Guy” – he shows off his vocal and dance chops all while being surrounded by a bunch of corner bums. Spreading the Good News is Sarah Bolt (from Broadway’s Wicked), Marla Mindelle (from Broadway’s South Pacific), and Audrie Neenan (from Broadway’s Oklahoma! and Picnic) as the pack of nuns roaming inside the walls of the convent. These three women provide non-stop laughs throughout the entire play – making pun on everything from religion to theatre to language. Holding down the fort of the church is Fred Applegate (from Broadway’s La Cage aux Folles and Young Frankenstein) as Monsignor O’Hara. Applegate truly shines in this role as he goes from figure of God to Dance Club MC as the play moves forward. This wonderful ensemble brings this new musical to Broadway in a big way.

Not borrowing any songs from the movie, Sister Act has brilliant music and lyrics by Alan Menken (score for Broadway’s The Little Shop of Horrors and Disney’s Beauty and the Beast) and Glenn Slater (Broadway’s The Little Mermaid and London’s Love Never Dies). Together, Menken and Slater created a rich score complete with disco hits, soulful ballets, and hip church hymns. Bringing this score into the light is director Jerry Zaks (currently represented on Broadway with The Addams Family). Zaks does a stunning job moving the story along smoothly amidst the intricate set changes and large ensemble numbers. Zaks creates wonderful images that are enhanced by the stunning designs of Klara Zieglerova (Broadway’s Jersey Boys) for the set, Natasha Katz (Broadway’s Aida and Elf) for the lighting, and Lez Brotherston (Broadway’s Swan Lake) for the costumes. Together these three designers work together to bring the slums of Philadelphia’s back streets, the dreariness of the convent, and the construction of the church to life with hints of the glamorous disco clubs of the 70s. The picture painted is absolutely stunning – allowing Sister Act to take its place as one of Broadway’s new smash hits.

Whether or not you love the movie and know the lyrics to every song or you have never even heard of the movie, you must see this show. Sister Act the Musical arrives on Broadway at the absolute perfect time – a time when everyone just needs a good laugh. Simply go to the theatre, relax, laugh, and be taken to heaven!

Review By: James Russo & Ryan Oliveti