Baby It's You @ Broadhurst Theatre

Take the styles of Million Dollar Quartet and Rain, add the story elements of Jersey Boys, throw in the energy of Mamma Mia, and one gets the new Broadway musical Baby it’s You!, currently playing at the Broadhurst Theatre. Telling the true story of the girl group The Shirelles and their manager Florence Greenberg, this jukebox musical features some of the best songs of the 60s with a new flair. Baby it’s You! is sure to be a hit with the older generation who grew up on such hits as Book of Love, Mama Said, Shout, It’s My Party, and so many more.

In the city of Passaic, New Jersey, Florence Greenberg lived as a house wife to husband Bernie Greenberg, daughter Mary Jane, and blind son Stanley – who happens to be a song writer. It is in this little town that Mary Jane discovers a group of four African American girls – Shirley, Micki, Beverley, and Doris – that perform at her high school. Longing for something more in her life, Florence leaves behind her family and takes the girl group, now known as The Shirelles, to New York City. It is there that Florence sets up a record label of her own and begins The Shirelles rise to stardom. As her success grows, Florence’s relationships begin to spin out of control as she starts an affair with her song writer Luther Dixon, loses contact with her daughter, struggles to get her son a hit record, and separates from her husband. However, through it all, Florence comes out on top as The Shirelles (the first ever all girl group to have a number one single on the Billboard Hot 100 list) pave the way for other all girl groups such as Diana Ross and The Supremes.

Baby it’s You! features an ensemble of extremely energetic and talented actors who are dedicated to bringing this rags to riches story to life.. Leading the pact is Tony Award winner Beth Leavel (The Drowsy Chaperone) as Florence Greenberg. Leavel delivers a heartfelt and moving performance that is fully deserving of the Tony Award nomination that she has received for her portrayal of Florence. She is able to make the tough as nails Florence Greenberg absolutely loveable. The audience is behind Florence as she struggles to move to New York and establish a record label, finds a new love, tries to support a family in a different state, and ultimately establish the first all girl group, The Shirelles. The two men in her life are played by Allan Louis (from television’s Grey’s Anatomy and Boston Legal) as Luther Dixon and Barry Pearl (known for playing Doody in the major motion picture Grease) as Bernie Greenberg. These two men provide Leavel with tons of support and attitude; Louis uses his soulful voice to seduce Leavel while Pearl uses his quick wit and sarcasm to give Leavel enough of a reason to get up and leave. Florence Greenberg’s New York family consisted of the four talented girls that made up The Shirelles – played by Christina Sajous (Broadway’s American Idiot) as Shirley, Erica Ash (Off-Broadway’s Love, Loss, and What I Wore) as Micki, Kyra Da Costa (Broadway’s Dreamgirls and Sweet Charity) as Beverley, and Crystal Starr (from television’s American Idol) as Doris. Together, these four women create a sound that is simply divine. Sajous steals the spotlight as the leader of the pack; her crazy good vocals mixed with her strong acting abilities makes her a true stand out in the cast. The rest of the ensemble, however, is wonderful too, as they bring the classic oldie hits into a new generation.

Baby it’s You! was conceived by Floyd Mutrux, who also brought the hit musical Million Dollar Quartet to the Great White Way. While the songs are hits and the actors are top notch, the overall story needed some extra attention. With a book by Mutrux and Colin Escott (also co-author of Million Dollar Quartet), this new musical needs much more focus – does it want to tell a story or be a rock concert? The musical simply wanted to do too much; it wanted to tell the story of both Florence and The Shirelles, have tons of great hit songs, and entertain audiences with a concert style set up. Unfortunately, none of these ideas were fully created. The play moved at a rapid pace, ignoring key relationships between the characters (especially the relationship between the four girls who the play centers around), in order to allow for an entire second act of song after song with minimal story line interruptions. This is a problem that not even the most gifted of actors, like the queen of Broadway herself – Leavel, could fix. With the entire above aside, the musical features wonderful creative work from its costume designer Lizz Wolf (film designs include Rambo and The Expendables) and scenic designer Anna Louizos (Broadway designs include In the Heights and Avenue Q). These two designers worked hard to bring the 60s style and fashion back to Broadway. Their designs are both detailed to make sure that each element transports the audience back in time to experience the birth of The Shirelles.

Baby it’s You! is a nice new musical that is light and heartwarming. While the story behind the people is not as strong as it should be, the work of the cast and designers is worth seeing if you were a fan of this generation. Bringing back such hits as Twist and Shout, Duke of Earl, Yakety Yak, and Soldier Boy, this new jukebox musical will surely have you leaving the theatre wanting to find some old records and rock out!

Review By: James Russo and Ryan Oliveti

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

Wonderland @ The Marquis Theatre

“Why is a raven like a writing desk?” More importantly, what does Broadway have to do with Lewis Carol’s classics Alice’s Adventures in Wonderland and Through the Looking-Glass? In Gregory Boyd’s and Jack Murphy’s new musical Wonderland, the familiar tale of a girl who follows a white rabbit to the journey of her life; is rewritten with a modern day twist. This talked about musical is not a sequel, as some may have speculated, but a visit back to the loveable characters in the whimsical children’s tale; that, unfortunately, leaves theatre goers curiously unsatisfied.

The trip down this rabbit hole begins in New York City, where English teacher, trying to be an aspiring writer, Alice, has moved to her mother-in-law’s apartment, along with her daughter, Chloe, while Alice takes a break from her rough around the edges marriage. But when Alice lays her head down to try and alleviate a nasty head ache, she finds herself transported to the topsy-turvy world of Wonderland.

Wonderland’s cast was energetic, overall, and fully committed to their roles, exuding an energy so inviting, that makes it a shame to admit it is the only put together part of this show. Leading the cast as Alice is actress Janet Dacal, who approaches the classic heroine with a delightful spark, truly reinventing the Alices of Wonderlands past. With a power house of a voice, Dacal rocks every last song, whether it is a ballad or a belting number. And what would our heroin be without a knight in shining armor – or in this case a cream, equestrian uniform? Darren Ritchie delights the audience as Jack the White Knight, an eager-to-please hero, combining the wistfulness of Don Quixote and the over-gelled lead in a boy band. Humor and valor are masterfully portrayed in Ritchie’s performance, that has the gents snickering and the ladies swooning.

Other show stopping performances were that of Chloe, played by Carly Rose Sonenclar, and The Mad Hatter, played by Kate Shindle. Sonenclar’s voice is so unbelievably fantastic, it was nearly impossible to believe that those notes came from her little frame. The deliciously crazed hatter, shone onstage, as Shindle took command as the menacing antagonist, with a voice that proved who wore the hat in this production.

Even with a truly remarkable cast, the book, supplied by Gregory Boyd and Jack Murphy, was less than desirable. With left field plot twists, blatant exposition, and trite lessons, the storyline was blasé to say the least, delivering nothing of what its teaser adds seemed to promise. Although the comedic one-liners try to save the show, the former issues outweigh the laughs. As for the music, composed by Frank Wildhorn, the cast packs a punch through each song, one number after the other, which really rallied the audience into louder and louder cheers, but lost its appeal towards the end of the first act, as each song turned into more and more of a ‘I’ll one up you’ fest. Even trying to give the first act the benefit of a doubt, what with it being heavy musically and only introducing the main conflict more than half way through, the second act takes a complete three-sixty, being sparse on the musical numbers and racing through the climax at the blink of an eye. Yes, it has been debated that this reviewer is over-thinking what is to be a children’s musical, allow this as a counter argument. If Broadway has hosted a children’s musical version of Hamlet, retold from an animal’s perspective, for over thirteen years, entitled: The Lion King, then these new, lowered expectations for the twenty-first century’s children’s musical is not only depressing, but insulting.

Neil Patel’s design, though dealing with a limited space, was creative, however, lacked that certain “WOW” factor, as there seemed to be a required change of set per each musical number. Costumes held the same unfortunate fate, as chorus members had change, after change, after change, having Susan Hilferty’s designs become less and less impressive as the play progressed. As for the dancing, for the abundant amount of movement that there was, Marguerite Derricks’ chorography lacked the razzle-dazzle, always having the potential to be impressive and nothing more.

As chaotic as the original land beyond the looking-glass was, there is no comparison to the mixed-up, mad house that is this musical. Then again, if it is a crazy night at the theater is what you are looking for, there are other rabbit holes to venture down for that.

Review By: James Russo & Sarah Hogan-DePaul

 

The Motherf**ker with the Hat @ Gerald Schoenfeld Theatre

F**k. F**ker. Motherf**ker. Cursing, curing, and more curing takes place on a regular basis at the Gerald Schoenfeld Theatre now that Motherf**ker with the Hat has moved in. Written by Stephen Adly Guirgis, this play, however, moves way beyond the title and the cursing to tell a truly compelling story about what happens when all trust is lost in relationships. Complete with a stunning scenic design, brilliant direction, and some of the best acting to ever hit a Broadway stage, Motherf**ker with the Hat is a brilliant new piece of theatre that is sure to rank up there as one of the next great American plays.

Centering around a recently released prisoner and recovering alcoholic, this brave new piece tells the story of Jackie and his drug addicted and cheating wife, Veronica. The lives of these two “upstanding citizens” crosses paths with some other “high class” people including Ralph D., Jackie’s AA sponsor, and Victoria, Ralph’s less than loving wife. When things get rough and sorts of relationships are tested, Jackie has to turn to his cousin Julio for help. From here the lives of all five of these individuals cross paths, and, as the title might suggest, the results are explosive. With tons of fighting, slaps to the head, and a mystery hat, Motherf**ker with the Hat arrives on Broadway with a bang.

The five person cast delivers what is truly one of the best performances that the Great White Way has ever seen, which is with the exception of one. Starting with the positive, on-stage couple Bobby Cannavale (Broadway’s Mauritius and film’s The Other Guys) and Elizabeth Rodriguez (television’s Flash Forward and ER) shine as Jackie and Veronica. Cannavale commands the stage and takes control of every scene, driving the play forward. His ability to switch back and forth from heart wrenching dramatic acting to laugh out loud comedic acting is impeccable. He has the energy to him that causes the entire audience to constantly want to watch and route for his character. So full of life, Cannavale delivers a truly unforgettable performance. Right beside him with just as much power, if not more, is Rodriguez. She is in one word beautiful to watch on stage. Her presence fills the entire theatre – so much so that when she is not present on stage, the audience longs for her to join in the action again. Both Cannavale and Rodriguez deliver truly wonderful performances. Following them is Emmy Award nominee for The Sopranos, Annabella Sciorra who portrays Victoria. Sciorra delivers a stunning performance full of passion, lust, and love. Her work on stage with Cannavale is breathtaking – leaving some audience members close to tears after hearing all of her characters pain and struggle, and wants and desires. The scene stealer of the piece is none other than Yul Vaszquez (film’s The A-Team and Bad Boys II) as Cousin Julio. Acting in what is sure to be Tony nominated work for his Broadway debut, Vaszquez lays it all on the stage giving a funny and emotional performance. He captures the hearts of each audience member in the room as he delivers undying love and honor to a less than worthy family. The main problem of the piece comes with the star vehicle, stand up and movie star Chris Rock (film’s Grown Ups and Madagascar series) – making his Broadway debut. While Chris Rock might be considered one of the best comedic actors of all time, it does not shine through in this performance. His lack of stage experience is fully brought into the light as the rest of the cast shines as the best of the best. Often looking confused and lost, Rock unfortunately did not have a director on the sideline with a camera and the ability to yell, “Cut!” However, do not let these words discourage you from attending this piece, the acting style of one in no way brings down the piece as a whole. Motherf**ker with the Hat shines as one of the best new plays to hit Broadway this season.

While talented actors is a plus, in order to be a success, a play must come packaged with a stunning script; and, thanks to Stephen Adly Guirgis (playwright of The Last Days of Judas Iscariot), Motherf**ker with the Hat has just that. His use of language is crafted so carefully – not one sentence is there just for fluff; each line serves a beautifully thought out reason. Bring this text into the light is Tony Award winning director Anna Shapiro (August: Osage County). Making this play flow with ease and sophistication, Shapiro clearly understood the text and meaning of the piece that Guirgis intended. Accompanying the high level text and direction is out of this world designs in scenic, lighting, and music elements. Designed by Todd Rosenthal, the complex set moves with ease as it changes from apartment to apartment to apartment. Featuring rooms on a turn-table, flipping sofas and walls, and a minimalist outside environment, there is no doubt that Rosenthal is looking to earn Tony Award number two – having won for the August: Osage County design. Bringing this brilliant design into the light is the work of designer Donald Holder (current Broadway designs include Spiderman and Arcadia). With creative lighting techniques – like a choreographed light show to open the production – Holder delivers a wonderful accent to both the set and the original music composed by Terence Blanchard, a five time Grammy Award winner. His jazzy and upbeat score sets the downtown city scene perfectly. Together, these forces create a work of true theatre masterfulness.

Motherf**ker with the Hat is a bold and daring new play that examines the struggles of life, love, and friendship as the key element of trust is removed. As the tagline cleverly states, “2 Hearts. 12 Steps. 1 Hat.” What more could one ask for in a play? It even drops the f-bomb in the title! Motherf**ker with the Hat is a must see!

Review By: James Russo

Anything Goes @ Stephen Sondheim Theatre

ALL ABOARD! Cole Porter’s classic high seas tale is back on the Great White Way and dazzling audiences night after night with high comedy, stunning voices, and outstanding choreography. Anything Goes, which has taken dock at the newly named Stephen Sondheim Theatre, now features Sutton Foster as the sassy Reno Sweeney and Joel Grey as Public Enemy Number 13, Moonface Martin. This hilarious musical is back and bigger than ever!

 While aboard the S.S. American, a cast of beautiful characters all mix, mingle, and intertwine in a trip filled with dance, disguises, and love. Rather than taking care of business, Billy Crocker decides to jump aboard a cruise ship, under a false name of course, to follow the woman that he loves, Hope Harcourt. Love does not come easy, however, when his assumed name turns out to belong to Public Enemy Number 1 and Hope is engaged to another man. In order to stop the wedding and win over his love, Billy must team up with long time friend Reno Sweeney, a famous lounge singer, and Moonface Martin, a less than famous gangster. Together, the three of them all scheme to bring Billy and Hope together and let their love shine through. Along the way, their lives twist with the lives of a colorful cast of characters, including gambling Japanese converts, a businessman who is blind without his glasses, a sailor loving gangster girl, and a British tourist just learning the slangs of American culture. Confused yet? Yes. Good because that is half of the fun of this brilliantly funny musical, Anything Goes.

Led by two of Broadways biggest stars, Cole Porter’s master piece is stronger than ever. Sutton Foster (Tony Award winner for Thoroughly Modern Millie) plays the sexy Reno Sweeny. Filling the shoes of past Reno’s like Ethel Merman and Patti Lupone, Foster makes the part all her own. She breathes youth into a part that is normally portrayed slightly older woman. Her sassiness, wit, and sophistication come together wonderfully for this role – not to mention her voice and dance chops. Her brilliant performance is matched by the adorable Joel Grey (Tony and Academy Award winner for Cabaret), who portrays the clever Moonface Martin. Grey gives a stunning performance. He is the grandfather that everyone wants – funny, exciting, and loveable. Together, Foster and Grey have the audience in stitches for most of the show, especially after their wonderfully realized duet “Friendship.” Colin Donnell (of Broadway’s Jersey Boys) and Laura Osnes (of Broadway’s South Pacific and Grease) portray the two young lovers Billy and Hope. Their chemistry together is spot on; and their solo work is just as strong. Donnell does a masterful job at being leading man – his charm and cleverness really shine through. He moves the entire show forward with such ease; it is just wonderful to watch. Joining the chaos on stage is: John McMartin (of Broadway’s Into the Woods) as the not-so-savvy business man Elisha Whitney, Jessica Walter (of television’s Arrested Development) as the greedy mother to Hope Mrs. Evangeline Harcourt, Adam Godley (a regular face on the London stage) as the crazy foreigner Lord Evelyn Oakleigh, and Jessica Stone (of Broadway’s The Odd Couple) as the mobster girl Erma. In this truly ensemble piece, the cast comes together beautifully to create the perfect night out at the theatre.

This high seas adventure shines thanks to the stunning direction and choreography of Broadway great Kathleen Marshall (whose past credits include The Pajama Game and Kiss Me, Kate on Broadway). Marshall delivers some of the best choreography to hit the Great White Way in years. Featuring a mix of tap, jazz, modern, and more, Anything Goes delivers enough dances to please all theatre goers. The Act I finally, the song “Anything Goes,” features a full cast tap dance number that fills the theatre with such joy and awe that audience members are left clapping for minutes after the curtain has already come down. Marshall has greatly out-done herself with this jaw dropping revival. Also making this production dazzle is a great design team – from set to lighting to costumes, Anything Goes is a visual pleasure. The workings of the S.S. America sail in onto the stage thanks to the clever scenic design of Derek McLane (current designs on Broadway include How to Succeed . . . and Bengal Tiger in the Baghdad Zoo). The three leveled ship is designed beautifully – full sized rooms, jail cells, and lounges move on and off effortlessly in this stunning design. To add to the wonderfulness, Peter Kaczorowski (current designs on Broadway include Born Yesterday and Driving Miss Daisy) provides a masterful lighting design. The bright and colorful scheme brightens up the entire theatre and truly lets the laugh-out-loud comedy sparkle. Also adding the overall picture of Anything Goes is costume designer Martin Pakledinaz (past designs include The Wild Party and Lend Me A Tenor). Pakledinaz’s designs transport the audience back to the glitz and glam years of the 1930s. Sutton Foster sports a new lavish dress decked out with sparkles and beads every time she renters onto the stage – it is a joy to watch. This creative team masterfully brings this old-school musical back to Broadway with tons of razzle and dazzle.

Thanks to the Roundabout Theatre Company, Cole Porter’s Anything Goes is revived with true excellence. This hilarious song and dance show is the perfect escape from reality. An absolute must see!

Review By: Ryan Oliveti