The Importance of Being Earnest @ American Airlines Theatre

In the new era of Broadway, where everything is high tech with flying, fancy lights, and projections, The Importance of Being Earnest is a refreshing look back at the old time styles of the Great White Way.  Oscar Wilde’s classic tale of “who’s who” comes to life with breathtaking acting and scenic design in this latest Roundabout Theatre Company production. 

The Importance of Being Earnest shines on Broadway where it is currently playing at the American Airlines Theatre.The Importance of Being Earnest tells the witty tale of two upper class men, Algernon (played by Santino Fontana) and John (played by David Furr), who like to lead double lives.  Before long, both men are pretending to a man named Earnest so that they can escape their normal lives and pursue the loves of their lives.  These woman, Gwendolen (played by Sara Topham) and Cecily (played by Charlotte Parry), quickly learn that their fiancés are not who they appear to be.  Add in an over protective mother (played by Brian Bedford), a teacher with a huge secret (played by Dana Ivey), and a womanizing reverend (played by Paxton Whitehead) and you get a hilarious night of good, old fashioned, humor.

The entire company of The Importance of Being Earnest works extremely well together to bring this classic tale to life.  A stand out in this ensemble was Santino Fontana (seen on Broadway in Sunday in the Park with George and Billy Elliot) playing the role of the flamboyantly clever Algernon Moncrieff.  Fontana delivered a strong performance that was truly funny; he took the time to find the humor in each and every single line.  Fontana was constanly reacting to every element on stage, had great comedic timing, and was making faces that had the audience in stitches before he even said the punch line.  Fontana’s brilliant performance will not soon be forgotten.  Playing opposite Fontana was David Furr (seen on Broadway and tour in Who’s Afraid of Virginia Woolf?) playing the role of the uptight John Worthing.  Furr had moments of stiffness and over tension where he appeared to be pushing for a laugh or emotion; however, he does pull it together to deliver a great performance.  Both Fontana and Furr worked extremely well with each other.  Their many scenes together were dynamic and funny, and moved the play along with wonderful ease.  Playing alongside these two men, were the hilarious Sara Topham (making her Broadway debut) as the overly proper Gwendolen Fairfax and Charlotte Parry (seen on Broadway in Coram Boy) as the love struck Cecily Cardew.  These two women had a wonderful radiance on stage and were extremely fun to watch.  Their scenes together delivered that spot on humor that Oscar Wilde is known for.  The supporting cast was superb as well.  Dana Ivey (a Broadway vet who has also been seen in the hit movies Legally Blonde 2 and The Addams Family) plays the secretive Miss Prism and Paxton Whitehead (a veteran of the stage and seen in such television shows as Desperate Housewives and Ellen) plays the lustful Rev. Canon Chasuble.  These two work seamlessly with one another to portray a hysterical look that shows that no matter old people may be, they still do crazy things when they are in love.  Brian Bedford (who also serves as the director of this production) delivers an elegant performance as the over-protective Lady Bracknell.  There were moments throughout the production where Bradford was focusing strictly on acting like a woman; these stresses on dialect often made it hard to fully understand what he was saying.  However, with great poise and wit, Bedford delivers a funny performance.  The Importance of Being Earnest is truly an ensemble piece that was wonderfully fulfilled with this Broadway revival cast.

The Importance of Being Earnest had stunning technical elements to it.  Oscar Wilde’s clever script was brought to life by director Brian Bedford.  The thought of having a featured role in the same production that you are directing may sound daunting, but Bedford pulls it off with style and ease.  There were some moments in Act I where the direction did go a bit south and the use of an outside director could have come in handy; however, these moments were quickly forgotten with the easeful flow and grace of Act II and Act III.  The entire production was brought out even further with the amazing scenic and costume design by Desmond Heeley.  The beauty of the scenic design started before the show even began with the gorgeous curtain.  Hand painted pictures of royalty and upper class symbols designed with bold colors and streaks of gold, the curtain set the mood perfectly for the entire night of theatre.  The set was designed to look like a portrait.  Every element appeared to be hand painted with precise precision and care.  This stunning background of pastels allowed the costume design to truly shine.  The use bright colors, vibrant reds and greens and stunning whites, allowed each character to pop out of the designed portrait and come to life.  These elements were expanded even further with an elegant lighting design by Duane Schuler.  With bold artistic choices, like having a room brighten every time Lady Bracknell enters a room, gave this comedy the true beauty that it needed.

Roundabout Theatre Company’s new production of Oscar Wilde’s The Importance of Being Earnest is a stunning piece of theatre.  With witty and clever dialogue, spot on acting, and a stunning design, The Importance of Being Earnest is a refreshing reminder of how simple can sometimes be better.  Who needs flying superheroes and state of the art projections when there is a wonderful story?  The Importance of Being Earnest plays at the American Airlines Theatre through March 6, 2011.

Review By: James Russo & Ryan Oliveti

 

Rain: A Tribute to the Beatles @ Neil Simon Theatre

The year, 1964. The event, The Beatles land for the first time in America. The reason, to perform for millions on the Ed Sullivan Show. The reactions, these four guys single handedly change the face of music and start what will come to be known as “Beatlemania.” Rain: A Tribute to the Beatles not only chronicles this momentous event, but also follows the Fab Four’s entire career from start to finish. This breath taking musical finally lands on Broadway after years of touring the United States and captivating fans both young and old.

Rain: A Tribute to the Beatles takes a personal look at not only the successful career of The Beatles, but all so the world around them. Fused with clips of news stories, famous speeches, and commercials of the 1960s, Rain opens with a re-enactment of the famous Beatles performance on the Ed Sullivan Show. The audience is then transported to a little over one year later, August 15, 1965, to see The Beatles rock out Shea Stadium. Performed to over 55,000 screaming fan, this is the first ever stadium rock concert in the history of music. Before long, the audience moves to June 1967, and watch as Sgt. Pepper takes over. When the Sgt. Pepper’s Lonely Hearts Club Band record is released, the face of music is once again changed with the world’s first ever concept album. Sporting the classic neon, satin costumes, Rain band members rock out to some of The Beatles greatest hits, including “With A Little Help From My Friends” and “When I’m Sixty-Four.” Moving right along into the late 1960s, the idea of flower power takes over The Beatles music as they become more acoustic and release what has come to be known as the “White Album.” On the last and final stop of this Beatles tour, Rain band members take the audience to Abby Road. Here the final two Beatles albums are performed to a screaming crowd who simply do not want this night of pure “Beatlemania” to come to an end.

Rain: A Tribute to the Beatles is performed each night by five extremely talented musicians: Steve Landes (vocals, rhythm guitar, piano, and harmonica), Joey Curatolo (vocals, bass, piano, and guitar), Joe Bithorn (vocals, lead guitar, guitar synth, and sitar), Ralph Castelli (vocals, drums, and percussion), and Mark Beyer (keyboard and percussion). Together, these five men bring The Beatles back together for one last concert. If one was to close their eyes, he or she would swear that The Beatles were standing in front of them performing together again. These amazing vocals are enhanced even further with the stunning technical work that was done for this production. Rain features scenic design by Scott Christensen and Todd Skinner. While the scenic design is simple, it helps tell the story of The Beatles in a big way. With each shift in time and record, the scene around them changes. Album covers, television studios, and baseball parks shined as the Rain band took us through history. Adding greatly to the scenic design was the breath taking video design by Darren McCaulley and Mathieu St-Arnaud. Using a mix of old time footage, original animated design, and live feed of the Rain band, this is some of the best video design to ever hit the Broadway! Starting out with a mix of live feed and actually historical clips of the Ed Sullivan Show performance and the Shea Stadium concert, the video design then moves into a mix of live feed and psychedelic original animations. Rain then ends with a bang by having a live feed of the audience being projected onto the two large television shaped screens. This unique touch took Rain to a whole new technical level; and, speaking of brilliant technical work, one must mention Stephan Gotschel’s stunning lighting design. Combining a unique blend of both concert and Broadway lighting, Gotschel gives Rain the perfect feel that it needs; flashy lighting mixed with brilliant Broadway style. Rain: A Tribute to the Beatles flourishes with high end style that gives theatre goers a one of a kind experience!

One of the best parts about Rain: A Tribute to the Beatles cannot actually be found in any summary of the show, Playbill, or program. Not one single person can be credited with this element; however, thousands of people make this element happen each and every performance. This element, of course, is the audience of Rain. Consisting of a typically older crowd, this show has the task of transporting its audience back to a time when they were young, rebellious, and in love with rock n’ roll. The astonishing Rain band has the audience on its feet, dancing, and singing along (and, in some cases, crying and jumping along). The live pans of the audience at the end of the show truly show the power of Rain: A Tribute to the Beatles. Moms, dads, grandparents, and children all catch some “Beatlemania.”

For an experience like nothing else on Broadway right now, go see Rain: A Tribute to the Beatles, currently playing at the Neil Simon Theatre through January 15th (and re-opening at the Brooks Atkinson Theatre on February 8th). This is the perfect feel good musical of the season!

Review By: James Russo & Ryan Oliveti

Colin Quinn: Long Story Short @ Helen Hayes Theatre

Remember those long-winded history lectures from middle school, high school, or even college, presented by a teacher who belongs in the history books? Now, take that memory, but replace the ancient-looking teacher with former Saturday Night Live star Colin Quinn (seen on Broadway in An Irish Wake and on the big screen in Grown Ups) and you have the laugh-out-loud, hilarious lesson plan called Long Story Short, directed by (television comedian and stand-up) Jerry Seinfeld. Currently performing at the Helen Hayes Theatre, Long Story Short is an original one-man play that hilariously walks audiences through the entire history of the world – from the big band to the present war in Iraq – in just 75 minutes.

From the Greeks, to the Italians, to the French, to the English, to Snooki, funny man Colin Quinn explores how civilization today is not all that different from civilization at the dawn of time. “Americans like two choices, Democrat or Republican, McDonald’s or Burger King. You know who the real troublemaker is? Wendy’s.” This truthful, humorous take on the history of the world is nothing short of genius. Colin Quinn’s overall sense of comedic timing and rhythm keeps audiences laughing throughout the entire performance; Quinn’s part in writing the entire script might also have something to do with the hilarity of the show. The script is broken up into different sections and is perfectly designed to examine various empires that have risen to and fallen from power. The audience is given the opportunity to journey through time and examine the world in which we live. It was smart, funny, and all around entertaining. Jerry Seinfeld (creator and actor of televisions Seinfeld) makes his directorial debut with this piece and does an exceptional job of bringing Quinn’s script to life. He took the time to add details to every single culture, story, and punch line. These elements of acting, writing, and direction were enhanced ever further with wonderful design from David Gallo (Memphis and The Drowsy Chaperone) who provided the scenic and projection design and Howell Binkley (Lombardi and Jersey Boys) who provided the lighting design. The scenic and projection design were beautifully crafted. Featuring ancient steps, a throne, a column, a stage sized map, and a huge projection screen, the set looked like a picture ripped directly from the pages of a history book (that is a really “cool” history book). The projections added to the storytelling with images of all of the different emperors, leaders, people, and of course, a globe that took the audience around the world and back. The lighting design was bright and colorful, and gave the show energy and spunk. Each story had its own color that would fill the stage and this hilarious tale the energy that it needed. Great acting, writing, direction, and design are the reasons why Long Story Short is a Broadway smash!

Do you want to know the reason that the Egyptian pharaohs crashed and burned? Or, the reason that Roman Empire failed? Or, what America would say to Iraq in a bar fight? Well then, you need to head to Colin Quinn’s Long Story Short, now playing on Broadway at the Helen Hayes Theatre through March 5th only! It is the perfect new comedy!

Review By: James Russo & Ryan Oliveti

 

Bloody Bloody Andrew Jackson @ Bernard B. Jacobs Theatre

Move over traditional musical, indie rock is here to stay on Broadway. What RENT did for the village, Spring Awakening did for raging hormones, and Next to Normal did for a reversed Oedipus complex; Bloody Bloody Andrew Jackson takes the typical history lesson by the collar, and gives a big F.U. to political correctness, stuffy explanations, and pompous “just-the-facts” attitude. It is set ablaze with a powerful score, an electrifying cast, and a production that captures the ferocity and complexity that was our seventh president – Andrew Jackson.

Even with an unusually quiet audience for such a powerhouse of a musical, the energy of the entire company – band included – creamed the scene with power and passion with not just the book, but the sheer subject matter. Touchy subjects – such as mass genocide and the infamous Trail of Tears – were approached with pristine wit and tenderness, creating an unsettling and yet spot on discourse within the audience members. The cast and crew nailed the feel good and thoughtful musical with a balance of ease that made it appear effortless.

Alex Timbers and Michael Friedman have created, what one audience member jokingly remarked, “The No-fear-Shakespeare for the history books, but done right!” Their work was refreshing among the other dime a dozen revivals and movie-made-musicals that seem to be creeping into the Big White Way. Bloody Bloody Andrew Jackson is the little patch of underground utopia that restores faith for the modern musical.

Benjamin Walker is a riot as Jackson, with his keen sense to capture the unruliness and internal struggle of a brilliantly mad man, he does not fall short of kicking ass and taking numbers as well as making you weep. On a scale of one to ten, he blazed through at a constant fifty, light up the stage with his voice, timing, and clarity of his role. Also, Maria Elena Ramirez’s role as Rachael (Jackson’s wife), was stunning. In her most poignant number “The Great Compromise,” the little woman gives her character a sharp turn from the comedy into tragedy with such grace and precision, giving further definition to her character. Bloody Bloody Andrew Jackson’s stellar cast is rounded out by the brilliant ensemble. Each member does a great job of portraying many different characters and even picking up an instrument or two to play with the band!

With the Bernard B. Jacob Theatre looking more like the interior of a bar – with the décor landing somewhere between an old fashioned tavern and an AC/DC concert – the generation gap of both era and genre made for a phenomenal combination. As stunning as the costumes were, continuing to stick to a westernized feel of today’s multi-layered look, there were several unnecessary costume changes among the chorus members; which did nothing to enhance the plot or scene, but more so to inflate the ego of the fashion gods. The lighting aspect was a stunning visual orgasm, as color changing neon tubes protruded from the stage, rippling on and off between numbers for the hard rock effect; while hundreds upon thousands of strings of lights glowed overhead – and over every space available for that matter – to create that old time feel of Southern comforts for the more somber numbers. Justin Townsend, lighting designer for this production, better take one hell of a bow for pulling off one magnanimous spectacle.

With the tired, but true saying, “history always repeats itself,” the message in this production is clear, keeping its audience members interested in more ways than one. Bloody Bloody Andrew Jackson is a must see, if not for the reasons above, then for at least a really crazy guy, in some really tight jeans.

Review By: James Russo & Sarah Hogan-DePaul

 

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