August 2006 NY & LA Theater Recommendations

New York Theater Recommendations:

There are two musicals and two plays currently on Broadway that I would recommend. As for musicals, if you have not seen it, be sure to catch the amazing "SWEENEY TODD" production before it closes in September. The director's unique and refreshing concept for this revival comes to life with a multi-talented, hard-working cast that plays their own instruments. This show should have received the Best Musical Revival Tony Award in June, but was robbed by the much inferior "Pajama Game."

The other "don't miss" musical on Broadway is "THE DROWSY CHAPERONE," which should have won the Best Musical Tony Award, but lost it to the fun, but inferior, "Jersey Boys." "Chaperone" is one of the wittiest and entertaining new musicals of the past decade. I have seen the show 4 times, and each time I see it, my appreciation for this work grows.

As for plays, I highly recommend "THE LIEUTENANT OF INISHMORE." If you appreciate dark humor, this is the show for you. It is funny, smart and well written. "THE HISTORY BOYS" (playing through October), is also a London import well worth catching, although I enjoyed this show more for the outstanding production than the sometimes facile writing.

Coming this fall to Broadway are two new musical I caught during their off-Broadway runs: "GREY GARDENS" and "SPRING AWAKENING." Though neither are perfect shows (at least not off-Broadway), both have much to offer. The performances of Christine Ebersole and Mary Louise Wilson lift "Gardens" beyond its limitations (which are particuarly evident in a weak first act) as written, and "Spring Awakening" is the freshest and most exciting rock musical since "Rent."

Los Angeles Theater:

I wish there was much to recommend in the Los Angeles area right now, but sadly that is not the case. Hopefully, things will improve in the fall. Do catch the Kander & Ebb musical "CURTAINS" in its pre-Broadway run at the Ahmanson. It is a flawed show, but much of the score is quite nice, and its cast includes many of Broadway's finest musical theater talents. David Hyde Pierce is particularly strong in the lead role, and deserves the standing ovations that I suspect he receives at every performance. Before it leaves town, you should also see "TICK, TICK BOOM" at the Coronet Theater. It is a memorable production of a show that nevertheless plays like a Jonathan Larson (creator of "Rent") song cycle with a patched together book. Despite that, it is an energetic show with a good cast, with an especially winnning performace by Tami Tappan Damiano.

A Dull "Earnest"; "Hedda" Has a Future; "Two And Only" Amuses

Now playing at the Ahmanson theater is Sir Peter Hall's stiff and arch production of Oscar Wilde's "The Importance of Being Earnest." Sir Peter should be banned from the Ahmanson because he has once again brought to that venue an entertaining script with his bland and boring direction. Lynne Redgrave chews up the scenery when she is on stage, but does it in a way that is out of synch with the other actors, none of whom have anything close to the panache called for to make this show work. A major disappointment.

By contrast, a major surprise just closed at South Coast Rep in Orange County- Jeff Whitty's funny and moving take on the place where fictional characters go to thrive or perish. Well served by nimble direction of Bill Rauch, and an able group of comedic actors, I thoroughly enjoyed this show well beyond what I expected from the gimmicky plot description. This show deserves a long and happy life beyond SCR, and provided a nice way fro LA area theater to start the new year.

I was also surprised by how much I enjoyed "Jay Johnson: The Two and Only" at the Brentwood Theater at the VA grounds in Brentwood. Although the show lags a bit when Jay is not performing his considerable ventriloquism skills, Jay is one supremely talented ventriloquist who creates funny and original characters. The showplays through mid-Februarybefore heading for Broadway, so try to catch it if you can.

Other recent shows I have seen that left me bored and/or disappointed were "Permanent Collection" at the Kirk Douglas, and "Book of Liz" at the Blank Theater. The first took itself too seriously, the second was just too silly for my taste.

10 Best Theater Productions of 2005

The Top 10 Theater Productions of 2005

1. The Light in The Piazza (dir/ Bartlett Sher) (NY) ****
2. Billy Elliott (dir/ Stephen Daldry) (London) ****
3. Pillowman (dir/ John Crowley) (NY) ***1/2
4. Dessa Rose (dir/ Graciela Daniele) (NY) ***1/2
5. Yellowman (dir/ Shirley Jo Finney) (LA) ***1/2
6. Altar Boyz (dir/ Stafford Arima) (NY) ***1/2
7. Urinetown (dir/ Eric Schaffer) (DC) ***1/2
8. Long Bridge Over Deep Waters (dir/Bill Rauch)(LA) ***1/2
9. The Drowsy Chaperone (dir/ Casey Nicholaw) (LA)***1/2
10. Mary Stuart (dir/ Phyllida Lloyd) (London) ***1/2


Dear Theater Fans:

If 2004 stood out as a year of outstanding new dramas, 2005 was remarkable for providing an unusually large number of outstanding new musicals, an occurrence that is exceedingly rare in this day and age.

The show that towers above all others in 2005 is an exquisite production of an intelligent, moving and beautiful show - Lincoln Center's The Light In The Piazza. Perhaps no show can truly be perfect, but this one comes closer to absolute perfection than any musical in recent memory. Victoria Clark's headlining performance is transcendent and should not be missed if you are in the New York area.

A close second to Piazza is yet another new musical, Billy Elliott, which is currently playing in London. The creators turned a successful film into an even more successful stage musical which tugs at the heartstrings in ways that feel entirely genuine. The show rests on the young shoulders of its title character, and the young performer I saw in London (Leon Cooke) carried the production to exciting heights. One can only hope that the producers bring this one to America soon, and that they are able to cast a young powerhouse in the lead role.

Other new musicals that made this year's top 10 include Dessa Rose, Altar Boyz, and US premiere (at the Ahmanson in LA) of the witty and entertaining The Drowsy Chaperone. All three shows offered something unique in a genre in which that quality is all too often lacking. Unique is also the right word for the re-invention of Urinetown that was accomplished at DC's Signature Theater.

The UK's National Theater production of Pillowman on Broadway took the highest play honors for 2005. The cast, headed by the outstanding Billy Crudup, was amazing in this chilling and challenging show. Together with last year's Doubt, Broadway had two of the finest new plays in many years running simultaneously. Also making the top 10 were the Los Angeles productions of Yellowman at the Fountain Theater, and Cornerstone's creative and engaging Long Bridge Over Deep Waters. London's Donmar Wharehouse expertly cast production of Mary Stuart rounded out this year's list.

I attended only 83 productions in 2005, down considerably from last year's 113 and a testament to my attempt to emphasize quality over quantity in my theatergoing activities. To those who have been receiving these year end reports for years, I hope you like the new "blog" format. I try to update this blog every month or two, in the event you want to check out my current rantings and ravings on shows I have seen.

Honorable Mentions

All Shook Up (NY); Apollo Part 1: Lesbensrum (Kirk Douglas); Golda's Balcony (Geffen); Measure for Measure (Old Globe of London at UCLA Live); Theater For A New Ear (UCLA Live)

Remarkable Returns to Shows First Viewed In Prior Years

Big River (Ahmanson); Doubt (NY)

2005's Top 10 Acting Performances

1. Victoria Clark (The Light In The Piazza)
2. Bob Martin (Drowsy Chaperone)
3. Mark Rylance (Measure for Measure)
4. Billy Crudup (Pillowman)
5. Harriet Walter (Mary Stuart)
6. Chris Butley (Yellowman)
7. Tovah Feldshuh (Golda's Balcony)
8. La Chanze (Dessa Rose)
9. Michael Stuhlberg (Pillowman)
10. Kelly O'Hare (The Light In The Piazza)

2005's 10 Biggest Disappointments

Thom Pain (based on nothing) which deserves a truth in advertising award for its title, as it was truly based on nothing, had nothing to say and was a major pain to endure; the NY Times rave for this off-Broadway witless drek remains beyond my grasp.

Happy End, which left me quite happy at its end; it was from the beginning to the end that left me considerably less than happy at this Pacific Resident Theater production.

We Will Rock You, a Las Vegas production whose tackiness made even the ultra-tasteless Vegas look classy and restrained by comparison.

Doubt at the Pasadena Playhouse, which was so bad that one would surely "doubt" that this was the same show that is currently playing on Broadway (directed by Doug Hughes, and the #1 show on last years' list) and is one of the finest Broadway dramas of the decade.

Hillbilly Antigone at the Lookinglass Theater in Chicago sounded like a dreadful title - the show was even more dreadful.

Nine Parts of Desire by the Geffen Playhouse left me only with the desire to bolt from the theater at the first opportunity.

Dead End was precisely that at the Ahmanson. A snooze-o-rama of the highest degree.

Open Window a Deaf West production at the Pasadena Playhouse was a major disappointment from the people who created Big River. This was one window that would have best been left closed to audiences.

Woman In White the new Andrew Lloyd Webber show that I caught in London failed to meet my extremely low expectations; its silly set projections that replace stage scenery still have me dizzy.

Grand Tour from the Colony Theater revived a failed Jerry Herman musical, apparently just to prove that this was one show that was best left forever undiscovered.

Surprise: "Drowsy" Its Not; "Measure" Is A Joy; and "Cat" Stinks

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.

New York Spring/Summer 2005 Theater Report

I cannot recall a year in recent memory when there was as many solid new musicals and plays as is the case in New York this year. Be assured that if you are in New York any time soon, there is a good variety of outstanding shows from which to choose. In the event you need some assistance, note the following.

There are three "don't miss," superlative new shows now playing on Broadway, two plays and one musical. The plays are the Tony and Pulitzer Prize winning "Doubt" and the Royal National Theater production of "Pillowman." Both shows have ostensibly dark central elements (child sexual molestation and general child torture, respectively), but "Pillowman" is by far the darker, more disturbing and more challenging show. But unless you cannot handle a film like "The Silence of the Lambs," don't let that scare you off from seeing this unique, well acted, well directed, psychologically probing show. It provides a thrill ride in the form of a theater seat. Billy Crudup, Michael Stuhlbarg and Jeff Goldblum give especailly noteworthy performances.

If you cannot handle a film like "The Silence of the Lambs," then you may want to skip "Pillowman," but by all means catch the amazing production of "Doubt" at the Walter Kerr Theater. An extremely well written play, this production elicts earth shattering performances frm Cherry Jones and Brian O'Byrne that should not be missed by anyone who treasures great acting. "Doubt" has already turned a profit, and is playing to sold out audiences. Bravo!

The don't miss musical - "The Light In The Piazza" now playing at Lincon Center is perhaps the most beautifully staged musical I have seen. This show entirely transports viewers to Italy in the early 1950's with the captivating story of an American mother and daughter's travels in Florence and Rome. The book is filled with nuances rarely seen in musicals today and the score is ravishing in its beauty. The acting and singing is top notch by all, but the central and Tony winning performance of Victoria Clark left this viewer in awe. I cannot imagine this wonderful show ever being done as good as or better than what you will find on stage at Lincoln Center right now.

The above "don't miss" shows are a tad on the heavier side. For a refreshing and light sorbet-of-a-show, catch "Altar Boys" a Christian boy band satire that provides catchy lyrics, solid musical performances and many laughs. I have seen it twice and would not hestitate to head back to this Altar for another round.

In the category of nice shows that have their merits, but suffer from being highly overrated are this year's Tony winning best musical "Spamalot," and the mildly charming "25th Annual Putnam County Spelling Bee." Most viewers will enjoy both shows, but trust me, a better time is being had by the viewers of the other four shows listed above. In the same category as these two shows, although not really overrated since it was not highly rated at tjhe outset, is "Dirty Rotten Scoundrels."

Having said all of this, all of the shows listed above are better than most of what New York theater has had to offer in the recent past. Most years, New York offers one or two excellent new shows (if that), mixed in with mediocre to painfully poor productions. This year is an exception and theatergoers in New York are the lucky beneficiaries of this good fortune.

Ratings: "Doubt" ****
"Pillowman" ****
"The Light In The Piazza" ****
"Altar Boys" ***1/2
"Spamalot" ***
"25th Annual Putnam County Spellin Bee" ***
"Dirty Rotten Scoundrels" ***

Up next post ......a note from a Chicago "Dollhouse" and a Pasadena "Purlie"

"Apollo" Soars; "Ghost" Needs Work or Will Disappear

"Apollo: Part 1: Lebensraum"

Playing through July 3 at the Kirk Douglas Theater in Culver City is "Apollo-Part 1: Lebensraum," by far the best play of the inaugural season at the Douglas. In a very untraditional and inventive way, "Apollo" focuses on the space race to the moon with an interesting (and to this reviewer, unknown) twist - it focuses on former Nazi war criminals who were extricated from post-war Germany by the US government to work at NASA. The play is well acted, visually stunning and extremely compelling.

It is worth noting how this play succeeds beyond another well done political play now playing at the Taper, "Stuff Happens" (see June 11 posting for review). "Stuff Happens" suffers at times from playing too much like a recitation of recent headlines. The problem is that the events depicted have happened too recently to allow for a powerful philosophical perspective. By contrast, "Apollo," while admittedly somewhat one-sided in perspective, uses its tilted perspective to illustrate a well known historical event with disturbing dimensions that have been hidden from the public psyche. Viewers owe a debt of gratitude to Director Nancy Keystone and the Critical Mass Performance Group for a well researched play which is performed in a unique and intellectually stimulating fashion.

I should note that the audience with which I saw "Apollo" seemed split over the show. If my audience barometer was working correctly that night, I would say 1/4 of the audience wanted the play to end 10 minutes into the first act, 1/2 if the audience thought the play was interesting but too odd for their tastes, and the remaining 1/4 (the group to which I belonged) thought "Apollo" was one of the finest originals plays to premiere in Los Angeles in years. This group eagerly awaits "Apollo: Part 2," which I understand will delve into the civil rights movement's intersection with the race to the moon.

Rating: ***1/2

"The Ghost And Mrs. Muir"

Another World Premiere, this one a musical entitled "The Ghost and Mrs. Muir" is playing at the Noho Arts Center in North Hollywood. "Ghost" is a well cast and well produced little show that works well in its charming, recently remodeled theater. Rumor is the show is aiming to work its way to Broadway. I fear more work than is possible is needed to make this show succeed on a Broadway stage. Why not just keep this show where it works best - in a small house where one forgives most of this show's unfixable shortcomings? If you are looking for a nice little musical in the Valley, see this show now before its ambitions overtake its appealing elements.

Rating: ***

Next posting: My New York Spring/Summer Theater Report

"Stuff Happens," Especially in Act 2/ "Habitation" Drags On

The Mark Taper Forum is the host of the American premiere of "Stuff Happens", David Hare's dramatization of the events leading up to the Iraqi war, with outgoing a Taper Artistic Director in the Director's seat. Davidson has assembled an expert cast for this interesting, yet overly long, political drama. Although there is not a weak link in the cast, special mention is due for the outstanding performances turned in by Dakin Mathews as Dick Cheney, John Michael Higgins as Donald Rumsfeld and Stephen Spinella as French Foreign Minister Domininque de Villepin.

The first act is long on exposition, but short on involving drama, save for some electrifying moments courtesy of Collin Powell as played by Tyrees Allen. But commencing with the "Enter The French" segment in act 2, the show speeds along to its compelling conclusion. It is only in the Powell scene in act 1 and in act 2 that Hare seems to be going beyond a summary of news items, but the top-notch cast, direction and staging make the entire evening seem well worth the price of admission. The Taper deserves praise for taking on an intelligent, politically charged work at a time when political heroism seems to be in missing in action.

"Stuff Happens" is at the Taper through July 17.
Rating: ***

Through next weekend, "The Habitation of Dragons," a play by one of America's finest writers, Horton Foote, is at the Crossley Theater in Hollywood. The play has received strong reviews form the local press, and I was impressed by a local version of his play several years back. However, for this revieiwer, the acting was painfully bad and failed to convey the poetry of Foote's dialogue. I could not wait for Act 1 to end, then I darted for the parking lot.

Rating: *

Coming soon: My Spring/Summer 2005 New York Theater Report

Cornerstone Theater's "The Long Bridge Over Deep Waters"

Don't miss Cornerstone Theater's production of its latest Community Bridge show "The Long Bridge Over Deep Waters" playing Thursday through Sunday at the John Anson Ford Theater in Hollywood. An expertly directed, world premiere production of a heartfelt and intelligent show about how faith unites and divides people in Los Angeles with obvious implications as to how faith unites and divides people throughout the world. In light of recent world events, I cannot imagine a more timely and important topic than that dealt with in this show. The acting, by a mixture of theaters pros and community novices, is right on the mark. One of the finest works ever done by Cornerstone, this show uses humor and emotion to tell a series of stories that are compelling and instructive on the ways and means of faith and religion.

Hats off to everyone involved in this beautifully staged wonderful production.
Rating: ***1/2