2011–2012 Season
That Championship Season
Jason Miller won a 1973 Pulitzer Prize and Tony Award for his 1972 play which is being revived today. Perhaps its the current cultural milieu that is responsible for the dampening of this revivals impact or perhaps we have become so inured to deceit and corruption that they no longer have the profound effect the author presumed. Although the cast all work mightily the overall effect is less than desired.
The play concerns the 20th reunion of a small town high school championship basketball team, four team members and the coach, who gather to drink to their success. And drink they do as one by one each man reveals their secrets and surprises, their compromises and deceits, their bigotry and smallness of mind. Indeed before the evening ends it becomes evident that their greatest success was that championship season and even that is suspect as the fifth absentee member has insisted before his disavowal of the group.
Brian Cox plays the coach with bluster, Jim Gaffigan is the mayor of the town—a bit of hapless buffoon, Chris Noth is the town’s richest man responsible for backing the mayor’s election but reluctant to perform that same role for his current reelection campaign, Keifer Sutherland—escaping from TV’s hero roles is the small town principal who is literally shrinking in his chair as he bemoans his anonymity while Jason Patric is Keifer's drunken brother who achieves nothing but falling down drunk. Patric is the son of Jason Miller and he literally enlivens the proceedings with his antics. All in all everyone gives it their best yet the entire show appears dated and muted. Even the excellent scenic design of Michael Yeargan contributes to the sensation of times past.
Priscilla, Queen Of The Desert
As soon as you know that Bette Midler is one of the producers of this Australian
drag queen disco hit show you realize this will be one gaudy, rowdy, jazzy, campy musical with enough blue humor to flummox any audience. Hopefully the double entendre dialogue is over the heads of the children in the theater who had a ball running after stray ping pong balls and handfuls of confetti. The story revolves 
around three drag queens who take a bus called “Priscilla” from Sydney to Alice Springs in order for one of them (Will Swenson) to meet the five-year old son he squired in one moment of misbegotten folly. His two friends plan to help him put on a show for the casino run by his wife which will allow them to earn expenses for the trip. And what a trip this is! The costumes, the wigs, the encounters with rednecks, the music ranging from “I Will Survive” to “La Traviata” sung by a diva in a huge glitter-studded Manolo Blanick type shoe hanging from the ceiling—and so forth and so on.
Tony Sheldon and Nick Adams play the two friends with aplomb, humor and adroitness particularly Tony Sheldon who comes across as a marvelously feminine woman while Nick Adams is a body builder type with a fabulous physique. They are all splendid. One must also mention the singing divas Jacqueline B. Arnold, Anastacia McCleskey and Ashley Spencer.
Production numbers are choreographed by Ross Coleman, Stephen Elliott and Allan Scott wrote the book based on the 1994 cult film by Stephen Elliott, while Simon Phillips directed the current version. All in all entertainment galore.
Arcadia
Tom Stoppard’s 1993 play is a tribute to the author’s wit, erudition and probable pomposity as the characters all vie with one another in presenting arguments—about happening, about meanings, about mathematical theories, about everything and anything—and in very sophisticated fashion! It takes place in the same huge drawing room in an English estate known as Sidley Park during two different time periods, i.e., 1809 to 1813 and present day. The events of the earlier period are interpreted and misinterpreted by the present day ones, a historical novelist Hannah Jarvis (Lia Williams) and an academic historian Bernard Nightingale (Billy Crudup) who is convinced that Lord Byron was involved in a duel with one of the characters in the earlier period. The other players are also involved in this search for the truth, not only as it applies to the actuality of events but also to the emotionality and sexuality implied.
In the early time period Bel Powley as an adolescent student and Tom Riley as her tutor perform admirably while Margaret Colin as the Lady of the house is equally adept. In the later era Raul Esparza among others flesh out the cast. But regardless of the ability of the performers the main focus of this play is Tom Stoppard’s eloquence, and that continues unabated.
Anything Goes
Music and lyrics by Cole Porter, original book by P.G. Wodehouse, Guy Bolton, Howard Lindsay and Russel Crouse updated by Timothy Crouse and John Weidman, choreographed and directed by Kathleen Marshall—what more could anyone want? And we also have Sutton Foster as Reno Sweeney the entertainment diva on the magnificent ocean liner who is in love with Billy Crocker (Colin Donnell) who is in love with Hope Harcourt (Laura Osnes) who is engaged to Lord Evelyn Oakleigh (Adam Godley) who is in love with Reno Sweeney and well, Anything Goes. And then there is Joel Grey as mobster #1 who is hiding on the liner posing as a minister along with his gal pal Erma (Jessica Stone) and even more mayhem occurs. And don’t forget John McMartin as Billy’s boss and Jessica Walters as Hope’s money-hungry mother. The show is delightful and de’lovely, easy to love, tops in entertainment. Keep your eye out for the marvelous tango by Reno Sweeney and Lord Evelyn Oakleigh who transforms himself from an English stuffed shirt to a marvelous comedian and dancer. All in all if you’ve had a bad day at the office or in the home or just in the world and want to be cheered up, uplifted and made merry this is the show for you.
The Book Of Mormon
This show is a pastiche of irrelevance, zaniness and smutty humor that mocks religion as another sideshow embraced by a gullible TV audience but winds up embracing humanity and the underlying fundamental tenets of belief. The creators of South Park, Trey Parker and Matt Stone, have teamed up with Robert Lopez of (Avenue Q) and Casey Nicholaw (of Spamalot) to produce a parody of every show on Broadway, TV or film that entertains and enlightens, but with a delicious punch.
The story concerns two young Mormon missionaries, Elder Price (Andrew Rannells) and Elder Cunningham (Josh Gad), who are sent to Uganda to convert the natives to Mormonism. Expecting a wonderfull assignment in Paris or Orlando the two are overwhelmed to find themselves in a poverty and disease strcken village where the main song “Hasa Diga Eebowai” reflects the vilagers attitude quite clearly (translation is F--K you GOD). Faced with horrible threats by an insane general, the trusting natives turn to Mormonism—as distorted by Elder Cunningham—to save them. They present their own hilarious version of the Elders story to the Mission President and all hell breaks out. The show is a gas. Apple-cheeked Andrew Rannells and overweight slovenly Josh Gad are perfect as is Nikki M. James as a trusting naive Ugandan, and the rest of this excellent cast of missionaries and natives.
How To Succeed In Business Without Really Trying
Harry Potter begone! Welcome J. Pierrepoint Finch to the world of business wizardy and Daniel Radcliffe has found his new niche in this happy revival of Frank Loesser’s 1961 musical about chicanery in the business world. Finch, an ambitious window washer, is on his way up the corporate ladder by hook or by crook, reading from his little book of tricks as he successfully navigates the treacherous waters of the World Wide Wicket Company. He is aided by Rosemary Pillkington (Rose Hemingway), a secretary who is determined to marry him, challenged by Bud Frump (Christopher J. Hanke), the nephew of boss J.B.Biggley (John Larroquette) who is so dazzled by Hedy La Rue (Tammy Blanchard), the cigarette girl he has pulled from her niteclub job to his firm for a little extra marital dalliance that he is ripe for any manipulation by his ambitious underling and manipulate he does.
Daniel Radcliffe is adorable—all 5 feet 5 of him as he clowns around with John Larroquette—all 6 feet 5 of him. Tammy Blanchard is lusty and busty as the sexy comic relief among all the overactive would-be achievers and Rob Ashford has both choreographed and directed with a fine hand. Catherine Zuber provides the 1960s fashion, Abe Burrow’s book remains intriguing if slightly dated and Anderson Cooper provides the background narrative.
Sister Act
In 1992 Whoopie Goldberg starred in the movie version of this story. Today she is one of the producers of the Broadway version of this terrific show. She need not worry—this show can run forever. Now set in the 70s in Philadelphia, the story is 
much the same but the music by Alan Menken, the lyrics of Glen Slater and the revised book by Cheri and Bill Steinkellner are fantastic. The music rocks, the lyrics, are top rate and the cast is perfectly atune.
Deloris Van Cartier (Patina Miller) wants to be a nite club star. Her gangster boyfriend Curtis (Kingsley Leggs) insists she is not ready for prime time. She accidently witnesses Curtis killing a police infomer and from then on she is on the run. The policeman in charge, Eddie (Chester Gregory), who has had a crush on her since grade school hides her out in a rundown church with a convent run by Mother Superior (Victory Clark) who instantly feels she is a threat to her order.
And indeed she is, for Deloris teaches the nuns to sing and dance with vim and vigor, thereby revitalizing the church and raising money to save it from being sold. The once forlorn church becomes a glittering spectacle (costumes by Lez Brotherston). All the nuns are fantastic. Marla Mindelle stands out as a young postulant who mourns “The Life I Never Led.” Sarah Bolt and Audrie Neenan are superb nuns while Kingsley Leggs has a ball singing about all the ways he will kill Delores when he finds her. Chester Gregory performs a magical number changing from a policeman to a rock star and back in a twinkling. Victoria Clark moans I “Haven't Got a Prayer” in toning down Deloris but in the end good prevails. One must also thank Douglas Carater Beane for the humor and pizazz of the show and of course Patina Miller carries the day.
The People In The Picture
These people are the Yiddish theatre group in Warsaw, Poland in their heyday in the 30s, before the Nazis effectively stamped them out. The story of their lives is being told by Bubbie / Raisel (Donna Murphy) in New York City in 1977 to her attentive granddaughter Jenny (Rachel Resheff) who is happy to hear anything her grandmother has to say. But her daughter Red (Nicole Parker) is not so thrilled to hear about these days because of the deep rift between her mother and herself. This chasm, caused by circumstances beyond their control, must be healed before Red can assimilate anything about her own heritage.
The show is both beautiful and painful as each member of the auspicious theatre/movie group disappears despite their valiant attempts to keep themselves and their profession alive. Only Raisel, the star of their many producions, holds on to sanity and life as she loses everyone who is meaningful to her. Donna Murphy is wonderful as both the young girl and the elderly Bubbe who insists her grandchild become the repository of the wonderful heritage she owns. She dances, sings, sacrifices with just the right touch while Nicole Parker is appropriately stiff and unforgiving as the wounded daughter. The rest of the troupe including Chip Zien, Alexander Gemignani, Joyce Van Patten, Christopher Innvar and Lewis J. Stadlen are equally effective in presenting both the humor and the pain of truly horrendous circumstances. Iris Rainer Dart has written the book and lyrics, music is by Mike Stoller and Artie Butler and direction by Leonard Foglia.
Baby It’s You
Florence Greenberg (Beth Leavel) was a bored New Jersey housewife whose two chldren had reached their teens, no longer needing her constant presence. Her husband Bernie (Barry Pearl), annoyed at her complaints, insisted she didn’t need a career, being a wife should be enough. But Florence was drawn to the pop music business and off she wen—to create the four teenage group girls, The Shirelles, her own record company and eventually platters by Dionne Warwick, Burt Bachrach and other stars. She was a great success, her group scored many hits and she became her hit song writer’s lover (Allan Louis as Luther Dixon). This interracial liason met with many difficulties (it was the late 50s, early 60s), cost Florence her marriage, and eventually split the lovers apart. So much for the story.
It’s the music that keeps this show jumping. The Shirelles are super delivering their many hits with verve and joy. (“Mama Said,” “Soldier,” “Dedicated to The One I Love,” etc.). They are played to perfection by Crystal Starr, Erica Ash, Christina Sajous and Kyra Da Costa. Florence's children Mary Jane and Stanley (Kelli Barrett and Brandon Uranowitz) also contribute with song and dance and Geno Henderson in various roles carries the narration forward. Gorgeous costumes by Lizz Wolf, scenic design by Anna Louizos and projection design by Jason H. Thompson bring the 60s to life and makes this a most enjoyable walk down memory lane.
Wonderland
An adult Alice (Janet Dacal)in a troubled marriage has left her husband and moved herself and her 11-
year old daughter (Carly Rose Sonenclar) to Queens where her mother-in-law (Karen Mason) helps out while she is commuting to the Bronx to teach full time. She is very unhappy, her daughter Chloe is miserable and her mother-in-law is also not too thrilled with events. She is ready for the trip to Wonderland, through the looking-glass and to her inner self. She follows the white rabbit (Edward Staudenmayer) through the service elevator in her building, winds up in the topsy tervey world, has a series of misadventures and discovers her true needs.
In the course of events the caterpillar (E. Clayton Cornelious), the Cheshire Cat—or El Gato (Joe Llana) and the White Knight (Darren Ritchie) help her defeat the machinations of the March Hare (Danny Stiles), The Mad Hatter (Kate Shindle) and the Queen of Hearts (Karen Mason). Along the way some lovely ballads by Frank Wildhorn, some intriguing costumes by Susan Hilferty, unusual set designs by Neil Patel and interesting videos by Sven Ortel round out this fantasy. This is an unusual treatment of the children’s classic put together by Gregory Boyd and Jack Murphy which will in no way replace Lewis Caroll’s masterpiece but has a point of view of its own and a melodious background to surround it.
Catch Me If You Can
When 16-year old Frank Abagnale, Jr. is told to choose between his divorcing parents, his response is to run away from home and begin a five-year career as a scammer, counterfitter, ersatz Pan Am Pilot, pediatric doctor and lawyer. He is pursued by the FBI throughout this period, finally caught, given a reduced sentence and hired by the Bureau to help catch people like himself. And he does so until present day.
This true story was a book, a movie and now a Broadway show combining the talents of Marc Shaiman and Scott Wittman (music and lyrics) choreographer Jerry Mitchell and director Jack O’Brien all of Hairspray fame. The story is told in flashback in the form of a 1960s TV show with Frank (Aaron Tveit) relating the episodes that brought him to his current downfall as he is captured by the FBI agent Carl Hanratty (Norbet Leo Butz). Both stars are excellent with Tveit smiling his way through one episode after another and Butz, middle-aged, exhausted and crumpled, doggedly pursuing him. The senior Abagnales (Tom Wopat and Rachel de Benedet) as well as Frank’s love interest Brenda Strong (Kerry Butler) and her parents, Linda Hart & Nick Wyman, round out the cast while a slew of sexy dancers and singers move along the action. Sets by David Rockwell and costumes by William Ivey Long sustain the 1960s atmosphere and make this show a winner.
The Mother**Ker With The Hat
It’s hard to see why anyone would want to write a play about these hopeless individuals whose main attributes seem to be the ability to use scatological language at the drop of a hat. But Stephan Adly Guirgis did and other hapless individuals produced it and here it is on Broadway. All five actors are excellent although Chris Rock, making his debut, is somewhat less professional than the other four but the dialogue is so peppered with profanity that one loses sight of whatever point the author was making.
It seems Jackie (Bobby Cannavale) has just gotten out of prison, has a handle on his alcoholism, has just gotten a job and is ready to make some kind of commitment to his drug addict girl friend Veronica (Elizabeth Rodriguez) when he spies a man’s hat on the table. It is not his hat. He goes beserk and runs off to his A.A. sponsor Ralph (Chris Rock) who tries to appease, offers him a temporary home with him and his wife Victoria (Annabella Sciorra), but later turns out to be his betrayer. All sorts of inane things happen and Jackie winds up running to his cousin (Julio Vazquez) for assistance and consolation. Despite cousin Julio’s valiant attempts at retribution nothing really develops. It is difficult to like these people or identify with their problems, so the play’s basic intent falls flat. The most magnificent part of the evening is the scenic design of Todd Rosenthal, a marvel of moving living rooms and seedy apartments, all in the same space, enfolding as needed. Director Anna D. Shapiro keeps things moving at rapid pace and many in the audience laughed heartily.
The House Of Blue Leaves
This show calls itself a comedy but aside from a few moments of hilarity and a couple of funny lines a designation of tragedy would be far more apt. There is a heaviness, a feeling of gloom and despair that permeates the run down apartment in Queens, NY in 1965 (courtesy of Scott Pask) and creates a vortex that cannot be avoided and accurately predicts the final tragedy. Artie Shaughnessy (Ben Stiller) resides in this apartment with his schizophrenic wife (Edie Falco) but his heart is with his downstairs neighbor Bunny (Jennifer Jason Leigh) who is energetically encouraging him to divorce his wife and move with her to California to join a childhood friend, Billy (Thomas Sadoski), who has made it big as a Hollywood director. Artie, who works in a zoo, fancies himself a talented song writer and singer but this illusion is soon dispelled for the audience with one performance in a nite club.
Meanwhile his son Ronnie (Christopher Abbott) has gone AWOL from the army (it’s Vietnam time) and is planning to plant a bomb at the feet of the Pope who is paying a famous visit to New York. Billy does not welcome his friend’s visit since he and his actress fiancé Corrinna (Alison Pill) are planning a two-year sojurn in Australia where she plans to see a hearing specialist and they both plan to make movies. And then there are three nuns that descend on the apartment ostensibly to see the Pope On Artie’s TV screen. And then the bomb goes off prematuraly…. The ultimate ending is not a surprise but it is painful to behold. The one shining light in all this unholy mess is the performance of Edie Falco as the demented Bananas. She manages to convey the distortions of mental illness as well as the denial of it with unswerving accuracy. Her duplicitious name says it all.
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