Danny DeVito, Mark Ruffalo,
As straightforward a drama as it seems to be, it’s harder than you’d think to make Arthur Miller’s The Price really land with the impact it deserves. And I think that may be because of all his signature plays, it features the least active plot. Oh it has encounters (that’s mainly what it has), and there’s a second act point where revelations and realizations pile on, one after another, but in terms of story, there’s not a lot of movement. This is a play of long monologues surrounded by emotional exchanges, and as such, it really depends upon the inner life the actors bring to their characters, and many are the ways they can be played.
Mark Ruffalo, Tony Shalhoub
All by way of saying I’ve never seen The Price fail, exactly, but I have seen it fail to rise to its heights, and sometimes never rise higher than Well, that was okay. I’m happy to report, though, that there are no shortfalls in Terry Kinney’s new production for the Roundabout at the American Airlines Theatre, which perhaps takes the play to its hottest level ever.
Mark Ruffalo, Danny DeVito
Tony Shalhoub, Mark Ruffalo, Jessica Hecht
Danny DeVito
Finally there’s Danny DeVito as the old man; this is the sweetheart role that everyone remembers, because the character is so dear and so funny. DeVito, mall of stature, large of comic persona, brings to the part his own natural feistiness as well, which imbues the occasion with a kind of insistence it might not otherwise have, and that raises the stakes on issues between the brothers needing to be aired.
I don’t think I knew, going in, that Harmony, the new musical from book/lyric writer, Bruce Sussman (Ted Tally’s Coming Attractions) and music writer Barry Manilow now on Broadway at the Ethel Barrymore Theater, is based on a true story. But as it sings itself out to us, it starts by taking us back to the Carnegie Hall stage of 1933, but then shifts even further back to Berlin, Germany 1927, giving us a clearer picture of what might be coming at us. Panning out in tones not so subtle and utilizing the narrative structure of a standard memory play, a narrator, played by the endearing Chip Zien (Broadway’s original Baker in Sondheim/Lapine’s Into the Woods), stands forward, center stage, ushering us into the past and this story. His name, he tells us, is Rabbi, and he once was, back in the day, a member of a comedic singing group in Berlin made up of six young men who could harmonize and craft a joke like few others could. The group, ‘The Comedian Harmonists‘, was an internationally famous, all-male German close harmony ensemble that performed between 1928 and 1934. As one of the most successful musical groups in Europe before World War II, they steadfastly rose to fame and fortune as the Nazis came to power in Germany, and within that historic framework, the dye has been cast and the stage set.
Zien is most definitely an affable figure, one guaranteed to take us through this complicated and emotional story with expert ease, and we feel safe in his testimony. The elder Rabbi pulls us in, ushering us back to the first days of the group, and joining in with the fun whenever he can. It’s a tender beginning, and as directed and choreographed with energy by Warren Carlyle (Broadway’s After Midnight), we are forever cognizant of where this all will be heading. Zien quickly lets us into the framework, informing us that he is the only surviving member of this long-forgotten troop of singers, and he’s here to tell us their story so they won’t be forgotten. Noting the historical landscape, we can’t help but know where we are being delivered to, and it’s not all that shocking where we will end up.
in Broadway’s Harmony. Photo by Julieta Cervantes.
With a group name that doesn’t exactly roll off the tongue, they come together with a joyful clarity, delivering the cool notes of a well-cast harmonic group. The crew of six, including a very good Matthew Mucha (CFRT’s Memphis)-an understudy for the absent Danny Kornfeld (Barrington’s Fiddler on the Roof) who usually plays the parallel part of Rabbi, younger and sweetly entwined with the other five; Sean Bell (HBO’s “Succession”) as Bobby; Zal Owen (Broadway’s The Band’s Visit) as Harry; Eric Peters (National tour: Motown the Musical) as Erich; Blake Roman (Paramount+’s “Blue Bloods”) as Chopin; and Steven Telsey (National tour: The Book of Mormon) as Lesh; come together neatly. They all fit into nicely categorized stereotypes that sing, make scene jokes, and travel the world entertaining their audiences with an ever-increasing amount of success, all under the watchful, but pseudo-approving eyes of the Nazis.
The six singers, all delicious and delightful to watch, deliver the goods solidly, even with songs that aren’t exactly memorable. But they sure look and sound good (and sometimes even great). No wonder they are seen as good public relations personas to the world, especially with their diversity, but as an audience member who knows what’s coming, it doesn’t sit so easily in the pit of our stomachs. The Nazis, as embodied by Andrew O’Shanick (“Pitch Perfect“) as Standartenführer – who claims to be a fan – don’t even seem to mind that a number of the group members, but not all, are in fact Jewish. This comes as a surprise, as most Jews and their equivalents were being robbed of their livelihood, their money, and their passports. But not these boys. Even when they push the boundaries of their PR protections outside of Germany, nothing happens, at least not right away.
The drama of the musical’s story is played out with conviction on a straightforward uncomplicated set by scenic designer Beowulf Boritt (Broadway’s New York, New York), with formula costuming by Linda Cho (Broadway’s Take Me Out) and Ricky Lurie (Gallery Players’ Godspell), inventive lighting by Jules Fisher + Peggy Eisenhauer (Broadway’s Gary), and a solid sound design by Dan Moses Schreier (Roundabout’s Trouble In Mind). It charges forward, but oddly, doesn’t hold us emotionally tight in its arms, running too long, and feeling soft-focused and sometimes generic in tone and form.
Even so, the musical does ride melodically and (a bit too) melodramatically forward, courtesy of music director John O’Neill (Broadway’s The Music Man), orchestrations by Doug Walter (Broadway’s The Blonde in the Thunderbird), and music coordination by Michael Aarons (Broadway’s & Juliet), showcasing finely tuned numbers that don’t hang around in the head for very long. The musical also offers up some romance, but only for two of the six members of this group. The others, I guess, just really focused on their voices and their all-for-one unanimous approach. The strongest focus, naturally, is on the young Rabbi’s love for the non-Jewish Mary, beautifully embodied by talented Sierra Boggess (Broadway’s School of Rock). It is a sweetly compassionate engagement, but to be honest, the more interesting, but less embraced relationship is with Ruth, played forcibly by a strong Julie Benko (Broadway’s Funny Girl understudy), a Jewish political activist who falls for and marries the non-Jewish handsome piano man, Chopin, who fails her when things start heating up. The two couples occupy the only relationships unpacked, beyond the secretly wealthy and connected Erich‘s briefly presented affair with the fabulous Josephine Baker, played enthusiastically by Allison Semmes (Broadway’s Motown). That’s a side journey that doesn’t really take us anywhere beyond a fun Act Two opener. But, the foursome makes for an interesting and problematic connecting of opposing faith dots, giving plenty of chances for drama and emotional insincerity.
Unfortunately for the six, they aren’t as clear or concerned as we are with their ongoing safety and security in Germany. And that’s basically the turning point of this musical. Beyond that, it’s pretty standard issue stuff. The unfortunate part for us is that not much here in Harmony is done with any subtlety or nuance. The book is cut from a standardized cloth and melody, and with Barry Manilow credited with composing and arranging the songs, one would think the songs would be more memorable and/or catchy. But there are a few that stand out, especially the ones sung most beautifully by the talented two female leads in this male-dominated cast. Particularly, the very pretty and meaningful “Where You Go“, which radiates warmth and care. It carried a certain something special, well at least for the first two-thirds of the song.
Here lies the main problem with many of the narrative songs and the show itself, including the lovely “Where You Go.” Too many of the numbers sound like and were directed to be 11 o’clock numbers, with some of the songs having more than one 11 o’clock moment stuffed inside. So after the third or fourth one of these high dramatic finishes, they start to lose their appeal and punch. When we finally do get to Rabbi’s big finale number “Threnody“, we have been worn down by too many big powerhouse endings. ‘Threnody’, it turns out, means “a wailing ode, song, hymn, or poem of mourning composed or performed as a memorial to a dead person“, which makes complete sense as the show’s main 11 o’clock number. Not the subtlest of song titles, I might add, but unfortunately for Harmony, because of all the other big numbers before it, the song, powerfully performed by Zien for the other five members, fails to land (beyond being impressively sung), especially in the emotional way it was intended to.
Beyond the silliness of some well-known cameos, like Josephine Baker and Zien in a wig playing Albert Einstein (and more), Harmony tries to emotionally engage so often that we start to feel numb to it all, which is exactly the opposite thing this show set out to do. It’s too bad, since the talent, many of whom are making their Broadway debut, is all there sounding good and singing their hearts out. And the story is a compelling one. But Harmony didn’t find its way forward into my emotional core. There are no subtle undercurrents, which makes it hard to stay tuned in, beyond just the surface level. Cabaret the musical, as we will see once again on Broadway in the spring, found the right components to unpack the horror without hitting us too hard with it all, like the moment inside Harmony when the Nazi officer salutes straight out into the audience, an act that both triggers some trauma (especially with what’s going on in the world today) and clobbers us way too hard and without any subtlety with the heavy gravity of the situation. Some may disagree with me on this, but for this theatergoer, the understated stance is more profound than the hard hit, with too many big 11 o’clock numbers hammering home the point, one after the other. One “Threnody” would suffice.
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At the CIBC Theatre in Chicago, BOOP! The Musical, the new Broadway-bound musical extravaganza is making its debut . Actress Jasmine Amy Rogers is currently bringing her to life in Chicago, as she proves in this exciting song “Where I Wanna Be”.
The show is created by Tony Award®–winning director/choreographer Jerry Mitchell (Kinky Boots, La Cage aux Folles, Hairspray) who brings the Queen of the Animated Screen to the theater with celebrated multiple-time Grammy®-winning composer David Foster (“I Have Nothing,” “After the Love Is Gone,” “The Prayer”), Tony-nominated lyricist Susan Birkenhead (Working, Jelly’s Last Jam), and Tony-winning bookwriter Bob Martin (The Drowsy Chaperone, The Prom).
I am obsessed with the songs already. First was “Something To Shout About” and now “Where I Wanna Be”.
For almost a century, Betty Boop has won hearts and inspired fans around the world with her trademark looks, voice, and style. Now, in BOOP!, Betty’s dream of an ordinary day off from the super-celebrity in her black-and-white world leads to an extraordinary adventure of color, music, and love in New York City—one that reminds her and the world, “You are capable of amazing things.” Boop-oop-a-doop!
With the holidays, my caricature of Spamalot is taking time, so I decided to highlight the two performers who for me stood out.
I have drawn Michael Urie several times, but I love this picture with him and my drawing of him in Buyer and Seller. Urie as Sir Robin, shows a new side of him that is truly funny.
Ethen Slater
Ethan Slater should have won a Tony for Sponge Bob Square Pants. My guess is he will be nominated again for his multiple roles in Spamalot.
Up next my caricature of Spamalot
Somehow I missed the original Monty Python’s Spamalot, based on the 1975 film “Monty Python and the Holy Grail” that played 18 years ago. So seeing this production at the St. James Theatre was fresh for me.
This show which runs over 2 1/2 hours is jammed packed with frat boy jokes, an uber talented cast and lots of razzle dazzle by director/ choreographer Josh Rhodes.
Michael Urie, Taran Killam, James Monroe Iglehart, Christopher Fitzgerald, Jimmy Smagula, Nik Walker photo by Evan Zimmerman
Satirizing the Arthurian legend, written by Eric Idle with music and lyrics by Idle and John Du Prez. The plot follows King Arthur (James Monroe Iglehart), as he is searching the kingdom for his Knights of the Round Table with his trusty sidekick Patsy (Christopher Fitzgerald). This is much like Don Quixote and Sancho, without those glorious songs. Instead we get “Look On The Bright Side Of Life.”
Arthur recruits Sir Bedevere the Wise (Jimmy Smagula), Sir Lancelot the handsome and incredibly violent (Taran Killam), Sir Galahad the Pure (Nik Walker) and Sir Robin the Not-Quite-So-Brave (Michael Urie). Arthur leads the knights to Camelot, but, after a Las Vegas Style review, he changes his mind, deeming it “a silly,” and they go off to find the Holy Grail.
In the meantime the Lady of the Lake (Leslie Rodriguez Kritzer) is rather peeved that her role has been cut. Kritzer tears down the house and the scenery with her vocal pyrotechnics and her attitude. She almost steals the show.
Ethan Slater photo by Evan Zimmerman
Ethan Slater plays the historian, not dead Fred, a baby, a nun, a mine and a minstrel, as well as wimpy Prince Herbert, and a demonic killer bunny. To each of these roles, he is like a chameleon and morphs into a comedic clown. He is truly funny.
Michael Urie, as Sir Robin, is hilarious and has the politically incorrect number “You Won’t Succeed On Broadway,” (if you don’t have any Jews). I am seriously surprised it has not been pulled considering parodies seem to be no longer appropriate.
Paul Tate dePoo III’s set is serviceable, but the projections are fabulous.
Many will like this show and if I had watched their performance on the Macy’s Thanksgiving Day Parade, I too would be buying tickets.
Monty Python’s Spamalot: St. James Theatre, 246 W 44th Street.
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