The rather ho-hum fall Los Angeles theater scene gets a jot of much needed energy with the newly arrived "The Drowsy Chaperone" at the Ahmanson Theater. It would not be fair to tell much of what happens in this show. Part of the fun is figuring that out for yourself, so mumis the word here. In an age when irony has all too often become the mainstay of new musicals, this is one funny show that gets by on being unique and sincere in contrast to the ironic focus of shows like "The Producers" and "Spamlot," shows which lack, and are limited by their lack, of an emotional core.
Bob Martin (also co-credited with the show's book) is beyond perfection as the Man In the Chair. He is the emotional core of the show, and he play the role to laughs and tears. The other standout in the cast is Sutton Foster as Janet. She again proves that she is a Broadway star who can sell a song like almost no other.
Quibbles? Okay, a few. I thought Troy Britton Johnston is particularly weak as Janet's love interest, and he cannot hold a candle to Ms. Foster's star presence. Also, the ending seems a bit rushed and loses some impact as a result. But these quibbles are minor. This is one funny, heartfelt and enjoyable show. It is being billed as a "love letter" to the theater. That phrase is often used to compensate for the mustiness of a dated show. Not so here; "Drowsy Chaperone" is a genuine love letter of the highest order. I am not a fan of fluffy, old-fashioned musicals that lack a decent plot and real emotion. This show made me understand why so many people beg to differ with me on this topic.
Also playing for a few more performnces at UCLA's Freud Playhouse is London's Globe Theater production of "Measure for Measure." I must confess that this has never been one of my favorite Shakespeare shows. The last production I saw was Sir Peter Hall's soporific production which played at the Ahmanson some years back. If I had let these views result in missing this show, I would have been much the worse for that decision. This "Measure" is expertly performed in "original practices" (yes, all female roles are played by men), and several of the performances are downright sublime. Chief among those great performances are outgoing Artistic Director Mark Rylance's Duke, and Colin Hurley's comedic Lucio. Never I have seen "Measure" done with such comic flair> This comedic take on the show leads one to forget whatever flaws this show may have. This show is playing at UCLA only until November 26; if you are reading this before then, call for tickets now.
Both shows reported on above subverted my expectations in what both would yield, and did so in a very positive way. I love it when that happens.
Now comes the bad news, arriving in the form of "Cat On A Hot Tin Roof" at the Geffen Playhouse, starring John Goodman (as Big Daddy) and Brenda Fricker (as his maternal counterpart). Almost nothing is right about this production, except for the set and the sharply remodeled theater in which the production is housed. The direction is all over the map, and as a result, this version of the classic does not know what it want to be. Goodman, who seems a natural for Big Daddy, is so one note in his performance that he has no impact. Fricker seems lost, and the actors playing Brick and Maggie seem like they are out of a community theater production. Don't even start me on the bad and inconsistent accents that eminate from the stage. My expectations were again subverted, but this time for the worse.
