Out of Town
Opening Night: The Devil Wears Prada Needs More Fire
The Chicago audience was jumping out of their Jimmy Choos at Chicago’s Nederlander Theater Sunday night, cheering the official opening of the musical version of The Devil Wears Prada, based on both the novel by Lauren Weisberger, and the popular film made of it in 2006 starring Anne Hathaway as Andrea “Andy” Sachs, an aspiring writer who makes what turns out to be a Faustian deal for success. As they say in the show, “Hell is a runway where the Devil wears Prada.”
Megan Masako Haley and Taylor Iman Jones in The Devil Wears Prada, The Musical Photo by Joan Marcus
It may seem an odd choice for the former Artistic Director of Chicago’s renowned Steppenwolf Theatre Company, famous for not doing musicals, and Tony Award winning director of such plays as August Osage County, to helm this production. But Chicago theater artists know how to tell a human story with honesty and depth. There are no gratuitous numbers or meaningless bellowing in this show. Ms. Shapiro has made sure Andy’s story is told with a sincerity that I appreciated.
The cast of the Devil Wears Prada photo by Joan Marcus
Andy is played with unforced warmth, inner wisdom, and humor by Taylor Iman Jones. Although Ms. Jones can, and does on occasion, rock the house vocally, she never overplays her more quiet and internal moments in song. We root for Andy to find the strength to stand up for herself, and cheer for her when she does because Ms. Jones makes us believe she has earned it.
Javier Muñoz and The Cast of The Devil Wears Prada, The Musical Photo by Joan Marcus
After countless doors as a writer are closed in her face, Andy gets an unexpected call for an interview from the head of H.R. at Runway Magazine. So Andy takes a job she doesn’t want, working in an industry she doesn’t care about, and then must fight to prove herself worthy of it. She becomes the second assistant to Miranda Priestly, the icy, iron maiden editor of Runway, played by Tony Award winning comedic genius, Beth Leavel.
Miss Leavel is a more hot blooded Miranda than Meryl Streep’s icy “Snow Queen” in the movie, and she has red hair instead of white to prove it. Ms. Streep’s Miranda was necessarily as inscrutable as she was cold, because the screenplay never really let her express her inner thoughts. I was afraid this musical would suffer if Miranda was portrayed the same way here. Luckily, in a musical, characters get to express and reveal themselves in song. So Ms. Leavel gets to become a musical baked Alaska, putting hot and cold together in a delicious and tasty delight of a performance.
Andy is second assistant behind Miranda’s first assistant, Emily, played with fine comedic sensibility and perky energy by Megan Mesako Haley. Andy is also helped in her rise within the organization by head designer, Nigel Owens, played with tremendous charm and physical expressiveness by Javier Munoz.
When Nigel gets Andy to start dressing with style and taking her position more seriously, she begins to rise in Miranda’s eyes. As Andy becomes more enslaved to the whims of Miranda, we wonder whether or not her long suffering boyfriend, Nate, played with simple warmth by Michael Tacconi, can ride out the storm with her.
Andy also has two close friends and roommates, Lauren played by Christiana Cole, and Kayla, played by Tiffany Mann, who are there for love and support in small but meaningful moments. The strain Andy’s new job puts on their relationship isn’t a big part of the show, but adds dimension.
The fly in Andy’s ointment is Christian Thompson, a writer for the publication she really wanted to work for. Although seemingly supporting her, he has his own agenda. This role is played skillfully by… Christian Thompson. Go figure.
The book by Kate Wetherhead is acerbic and crackling with humor when appropriate, and touchingly sincere when called for. It keeps just enough of the sources for inspiration, as when Miranda says to Andy icily, “By all means, move at a glacial pace.”But she gets new jabs in as well.
The songs, with music by Sir Elton John and lyrics by Shaina Taub, do what good musical theater songs should do: Reveal inner thoughts, advance plot, and let characters process their emotions. However, Ms. Taub tries to say so much in her lyrics that the central idea of the song often gets lost. For example, Nigel gets a big song about coming out, and at the end of it, I still didn’t know what the song was supposed to be called.
The best that can be said of Sir Elton’s music is that it is serviceable. Maybe he tried too hard to defer to Ms. Taubs meandering lyrics, which rarely landed on a hook he could set with any musical excitement. Andy’s opening song, “I’ve Got a Job to Do,” is very energetic. But otherwise, most of the music just lays there like last year’s dead stock.
It may seem odd to some that Miranda and Andy don’t have a song together. But I thought that was very appropriate. Even when in the same room, they always exist on two very different planes. This isn’t Patti Lupone and Christine Ebersole in War Paint.
I particularly enjoyed the choreography by James Alsop. When backing up the singers, the ensemble always provided visual interest, but never overwhelmed them. The movement defined the world of the play through the ensemble at every moment.
The Scenic and Media Design by Christine Jones and Brett Banakis, complemented by the lighting design of Paule Constable, are a show unto themselves. When the walls of the New York office start leaning and become the sides of the Eifel Tower in Paris, which then lit up like a Christmas tree, the entire audience gasped and applauded for good reason.
The surprising disappointment of the evening was the relentlessly ugly Costume Design of Arianne Phillips. I frequently found her pieces to be loud, flat, and lacking in any of the distinctive design elements which the story is supposedly all about. She’s no Bob Mackie, and this sure isn’t “The Cher Show.”
In the end, Ms. Shapiro has created a show whose sum is far greater than its parts. Though the songs may be lackluster, they are always appropriate, and enrich our understanding of the characters. Ms. Leavel’s performance adds new dimensions to the story even if the book doesn’t. Overall, the show is a crowd pleaser, as the enthusiasm of the audience proved at every moment. Whether a fire can be lit under the songwriting team and the costumer before their Broadway opening to do something better, and what difference it may make at the box office, remains to be seen.
It was one of those spontaneous but well-planned cross-Atlantic journeys, fueled by a one-show idea that blossomed into something bigger. Antonio and I (two theatre junkies of the highest order) typically would find ourselves traveling to London, meeting there for about five nights, give or take. That is after I spent one evening with a good old friend and his longtime husband. Which was a personal requirement, and then, Antonio and I would dutifully schedule one theatrical event after the other, building a theatrical plan that would make others weak in the knees. But for the two of us, a London trip was exactly that. As much theater as we could fit in, with a few museums mixed in with at least one tourist attraction that was new to at least one of us. And a lot of great breakfasts made up of coffee and baked goods, as well as dinners with friends or just the two of us. Close to the theatre that was housing that night’s show. That was also a requirement. Born out of one too many breathless runs through Times Square trying to get to that scheduled curtain on time.
This year’s trip started with a casual statement about Andrew Scott doing a one-man Vanya in the West End. And the rest, as they say, is history. What soon followed was a Mark Rylance-starring play, Dr. Semmelweis, courtesy of a long-waiting National Theatre credit from March 2020. Then an immersive Guys and Dolls, and a quick grab at some standing-room-only tickets for a sold-out Next to Normal that we thought we had missed out on until we got that early morning email announcement. An Ian McKellen-starring Frank and Percy soon followed, as did the play Hamnet, based on a book I’ve never really heard of (but it seems many others had, including Antonio).
That was the plan. But I decided to stay even longer than normal. Surprising even myself. Usually, I would EasyJet myself off to some locale in Europe that I’ve never been to before, or to someplace I wanted to revisit after a far too long absence. But this time I just wanted to stay put a wee bit longer. And to give myself some time to see others that I might not have had the chance to see or spend time with. And of course, some more shows followed. The British farce Noises Off and a new musical The Time Traveler’s Wife with friends that weren’t Antonio. A matinee at the National Theatre on the day Antonio would fly home. And a last-minute day-of TKTS purchase in Leicester Square for a musical about an old English woman going to Paris to buy a dress from Dior. I probably wouldn’t have gone to see that one. Maybe I would have seen the Stephen Sondheim songbook show Old Friends starring Bernadette Peters and Lea Salonga, or the recently transferred National Theatresoccer play, Dear England, starring Joseph Fiennes. But the new musical, Flowers for Mrs. Harris starred Jenna Russell, one of my all-time favorites, and that was just too good to resist. So why would I?
So ten shows. In about ten days. Not a record mind you. But a pretty satisfying theatrical and social undertaking. And here are a few words about each of the shows. If you’ve managed to get through this long-winded introduction. So here it is: My London theatre trip of 2023.
London Theatrical Trip 2023
SHOW #1: DONMAR WAREHOUSE’S NEXT TO NORMAL
SHOW #2: WEST END’S DR. SEMMELWEIS
SHOW #3: WEST END’S VANYA
SHOW #4: THE OTHER PLACE’S FRANK AND PERCY
SHOW #5: BRIDGE THEATRE’S GUYS AND DOLLS
SHOW #6: WEST END’S HAMNET
SHOW #7: NATIONAL THEATRE’S THE FATHER AND THE ASSASSIN
SHOW #8: WEST END’S NOISES OFF
SHOW #9: RIVERSIDE STUDIO’S FLOWERS FOR MRS. HARRIS
SHOW #10: WEST END’S THE TIME TRAVELLER’S WIFE
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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!
Weaving together a memory play with a psychological study of epic historical proportions, the National Theatre delivers a mystery revolving most dynamically around a murder up close and personal. Three bullets fired, we are told by our engaging narrator, Godse, portrayed most cleverly by Hiran Abeysekera (RSC’s Hamlet), all by him, but he says it almost triumphantly. “Even you could turn into me,” he also explains, and in that moment I realized that I knew so little about that sad chapter in India’s political history. Other than the headlines, I might add, but more so that there had to be another side to the assassination story of one of the greatest and most well-known Indians who ever lived, Mahatma Gandhi, and I couldn’t stop myself from leaning in to see and understand just what playwright Anupama Chandrasekhar (When The Crows Visit; The Snow Queen) has in store for us.
“Let’s not exaggerate,” but those three bullets changed history and shocked the whole world, mainly because of the confusion it elicited. Set against the backdrop of the tumultuous conflict between India and its colonizing oppressors, the British Empire, The Father and the Assassin attempts to both outline the political journey towards Indian independence and give us a closer more intimate look at the man who fired those shots. Chandrasekhar has noted that thousands of books have been written about Gandhi in an attempt to understand and know every aspect of this famed philosopher and political public speaker and writer, yet very little about his assassin, particularly his upbringing and what would bring a man like him to this violent moment. This was the play’s intent.
“Any dramatization of history requires a degree of imaginative license,” she tells us in her notes, and here on the grand Olivier Stage of the National Theatre, this epic tale revolves forward revealing an upbringing of disorder and subtle discourse. To understand, or at least attempt to understand the central figure and our narrator, we have to peer back into Godse’s upbringing when his parents, and try to look beyond the act itself. You see, after losing three other boys in their infancy, Godse’s parents sought a somewhat odd religious solution to their situation and his birth. They decided, in order to sidestep what they thought was a curse on their family, to raise their boy as a girl. They would pierce his nose and deliver him into the world as a daughter, forever setting up a conflict that may have caused Godse to be quite lost in his own personal identity, possibly making him far more susceptible to father figures who might give him a structural meaning of self and acceptance.
This is Godse’s conflict story, of inner and outer divisions and betrayal of the father, played out in identity politics of a different order, resulting in some trauma and childish animosities that have their roots in personal relationships as well as, metaphorically speaking, political colonialism. At least, this is what Chandrasekhar tries to deliver forth in this psychological study alongside a complex paradigm for Hindu nationalism, all located in the central figure’s cracked psyche, which, in essence, may have resulted in the 1948 assassination of Gandhi.
It’s an exhilarating explorative adventure, laid out majestically (and somewhat typically) on a set on that grand Olivier stage. Rust-colored and ramped in the round, designed well by set and costume designer Rajha Shakiry (NT’s Trouble In Mind) with grand lighting by Oliver Fenwick (Audible’s Girls and Boys) and a solid sound design by Alexander Caplen (Royal Court’s Over There), The Father and the Assassin unpacks the complicated quest of a young boy to find purpose and an identity that would bring him, first to Gandhi (Paul Bazely) and his unifying movement of peaceful resistance. This dynamic laid out a fatherly framework that would be their undoing, as that relationship was followed by the divisive politics of Vinayak Savarkar (Tony Jayawardena), who built the foundations of the Hindu Mahasabha party pushing a strongly formatted idea of Hindu nationalism as a political ideology, all while serving out a life sentence in the Cellular Jail as a prisoner. It was a switch that changed the world, but one that seems to have been drawn from paternal inclinations and rejection, rather than political identifications.
The large cast of twenty does the piece grand service, as we play along with Godse as he, as a child, supports his family by channeling the goddess as a village fortune teller. It’s a captivating first engagement, as it weaves and rotates into view a childhood filled with obedience, and respect, followed directly by rebellion and political and personal debate.
“Hope smells a lot like sandalwood,” we are told, and the play unfolds with precise non-linear structuring that digs us deeper inside this fractured mindset. As directed with clarity and vision by Indhu Rubasingham (59E59/Round House’s Handbagged), the story sings on a whole other range, playing with our sensibilities and understanding of an event that shook the foundations of our world. With a staging that conjures up multitudes of complex psychological images, as well as dialectic themes of political style and belief structures, Godse becomes something of a childlike shell, trying desperately to control his narrative while batting away childhood trauma, embodied well, in contrast, with the peaceful qualities of his open-hearted childhood friend Vimala (Dinita Gohil) and the games they once played.
The play lives and breathes through the essential performance of Abeysekera as Nathuram Godse. The way he moves about is both delicate and angry; aggressive and casual, allowing playfulness to be weaved within the construct of empowerment and weakness of character. His desperation for fatherly and an authentic understanding of his own identity is at the center of this dynamic new play. His put-upon strut of childish resentment and ultimate vindictiveness delivers in the end, with the pulling of the trigger. The Father and the Assassin ends on a note of complications, energizing the room to seek for more clarity and understanding. It’s a complicated ending, leaving you questioning its stance, and making us want to know more. Which I think is precisely the point.
For more go to frontmezzjunkies.com
Running now through December 31st at the Bucks County Playhouse is a new version of Irving Berlin’s White Christmas – The Musical. Based on the 1954 American musical film directed by Michael Curtiz and starring Bing Crosby, Danny Kaye, Rosemary Clooney, and Vera-Ellen, the original stage adaptation of White Christmas opened on Broadway at the Marquis Theatre in 2008 after several successful engagements throughout the United States.
Irving Berlin’s White Christmas from Bucks County Playhouse on Vimeo.
Following a stint in the army, song-and-dance men, Bob Wallace and Phil Davis become one the hottest duos in show business. After a chance meeting, they follow The Haynes Sisters to Vermont where they discover a nearly bankrupt inn run by their former Army commander. With no snow in the forecast, and no tourists in sight, can Wallace, Davis and the Haynes Sisters pull off a yuletide miracle?
A very clever book by David Ives and Paul Blake makes this rather sentimentalized story not seem so sappy. And the addition of some of Irving Berlin’s greatest songs, such as “I Love a Piano”, “Blue Skies”, “Let Yourself Go” and “How Deep is the Ocean?” makes for an evening of humable, memorable tunes. But the most entertaining parts of the show are the dazzling tap numbers choreographed with creative exuberance by Richard Riaz Yoder which keep the leads and the entire ensemble tapping their veritable toes off.
Jeremiah James as Bob Wallace possesses a most mellifluous voice and puts it to good use in “Count Your Blessings Instead of Sheep”. He also manages to make his curmudgeon of a character appealing. Ashley Blanchet is terrific as Betty Haynes and is exceptional on “Love You Didn’t Do Right By Me/How Deep is the Ocean”. Jarran Muse as Phil Davis, the wolf, is funny and charming and shines in “I Love a Piano” along with Kaitlyn Frank as Judy. Ruth Gottschall is a stand out on “Let Me Sing and I’m Happy”, and is the young Mackenzie Reff who sings the reprise as Susan Waverly. (This role is shared by Tara Rajan who alternates with her.)
Kudos to the small orchestra of seven musicians who under the direction of Jeffrey Campos (who re-orchestrated the score) sound like a full Broadway pit band.
And kudos to the Bucks County Playhouse for having live music in this age of pre-recorded tracks.
Most notably, Hunter Foster must be commended for making this big, behemoth of a show move along at a speedy clip.
For tickets please visit buckscountyplayhouse.org, call 215-862-2121, or visit the box office at 70 South Main Street, New Hope, PA.
Irving Berlin’s White Christmas – The Musical: Running now through December 31st at the Bucks County Playhouse, 70 South Main Street, New Hopes, PA 18938
Book by David Ives and Paul Blake
Music and Lyrics by Irving Berlin
Choreographed by Richard Riaz Yoder
Directed by Hunter Foster
When you come to downtown Chicago, there are a few “must see” destinations. There’s the Art Institute. There’s the mirrored Chicago Bean. And now, there’s Teatro ZinZanni. This enthralling, acrobatic, variety show, which originated over twenty years ago in Seattle, is in its second incarnation here in Chicago, post-pandemic, and flying high again.
Aerialist Lea Hinz Photo Credit Samuel Rose @duorosetrapzee
Their new show, Love, Chaos and Dinner, expertly combines music, circus, arial acts, acrobatics, juggling, and magic. I made my first ever visit to Teatro ZinZanni Chicago this week, and was blown away by the talent and professionalism of this group. It is a dazzling roller coaster ride of non-stop entertainment, not to be missed. Hop on!
The organization of the experience itself is a marvel. Every member of the staff, from the greeter at the door to the servers who dance as they bring you your food between circus acts, is as well rehearsed and professional as the acts themselves. The staff sweeps you through the evening with friendly, polite efficiency. Kudos to the management for assuring that there isn’t a single element of the Teatro ZinZanni experience which isn’t a complete joy.
Aerialist Danila Bim Photo Credit Samuel Rose @duorosetrapzee
The show is presented in a round structure resembling a circus tent, fitted inside the 14th floor of the Cambria Hotel in downtown Chicago. Although it looks large in some ways, it is remarkably intimate at the same time. The tables encircle the performance area, and the performances spill out into the crowd. The clowns and comedians weave through the tables all night as the acts change, making sure there’s never a dull moment.
The individual talents in this show are universally remarkable. Collectively they make a perfect ensemble.
Ulzii Mergen Photo Credit Samuel Rose @duorosetrapzee
The Ringmaster, Michael Evolution, is a master spinner and juggler of basketballs. Ulzii Mergen is a mind-boggling contortionist who seems to be made entirely of very beautiful rubber. Danila Bim hangs from her hair and spins faster than a dental drill. Lithe and lovely Lea Hinz works a large hoop with fluid grace. Cassie Cutler and Oliver Parkinson, known collectively as Duo 19, are a breathtakingly sexy arial duo. Ms. Cutler also does a wonderful job earlier in the show as the show’s featured clown, in a washer woman character resembling Sarah Silverman doing Carol Burnett.
TrapezeDuo 19 Photo Credit Samuel Rose @duorosetrapzee
When I saw the similarly styled Cirque du Soleil, I was impressed by the physical talents of their acrobats. But the work often felt posed, and I was somewhat distanced from the experience by the vastness of the theater. The talented artists of Teatro ZinZanni engaged me in their experience far more. They spin, twist, leap, and contort at speeds and in ways that nearly seem impossible, always surprising, with unerring precision, and unforgettable beauty. It also helps that the performers are so close to you. The intimacy of the experience will make your heart race non-stop with excitement.
Lucy Darling
The “special guest” of the show is the delectable Lucy Darling, the theatrical alter ego of lovely young magician, Carissa Hendricks. She has performed in Chicago several times before, at the Rhapsody Theater and Chicago Magic Lounge, but I’ve always missed her. I became a fan of hers on Fool Us, and was excited to see her live. Her character of Lucy Darling is a modern Mae West with a touch of Marilyn Monroe for good measure. Sly, sexy, seductive, and deceptive, Lucy Darling keeps us laughing and delightfully off balance as she slips into her magic, which is all built around cocktails and bar paraphernalia. You will get drunk on her smile. A toast to her talent!
My only criticism of this show is that they don’t give Ms. Darling a magical enough entrance. In fact, it takes a bit too long before you even know she’s supposed to be a magician. Later in the show, she magically appears from an empty chair in what is otherwise a throwaway transitional moment between acts. It would make a lot more sense if they were to incorporate this magical appearance into her entrance.
Last but not least is the outstanding music which envelops the evening. The central character of Madam ZinZanni, normally played at evening performances by Sa’Rayah, was embodied at the performance I saw by matinee performer Tina Jenkins Crawley. She is a powerhouse singer whose soulful performances were all a delight to hear.
Another musical treat is the live band, lead by the fast-fingered keyboard stylings and expert musical direction of local jazz legend, Theodis Rodgers, Jr. He is matched and supported by top notch performances from Jose Martinez on drums, Jon Negus on woodwinds and keyboard, Phil Seed on guitar, and Chuck Webb on bass guitar. It would have been worth the price of admission just to hear them play.
Finally, this is a dinner theater show. Remarkably, the meal also is quite excellent. It starts with a generous assortment of crudités. The wait staff will suggest a yummy appetizer to keep you going for an hour until the entrees are served. I had the salmon, and my friend had pork, both of which were well prepared. But nothing prepared me for the amazing desert, which featured the most unusual cheesecake and best chocolate mouse I’ve ever had.
I’m someone who likes value for his money, and Teatro ZinZanni gives you that across the board. In every aspect, Teatro ZinZanni delivers a tasty and tasteful experience which you will remember happily long after you leave.
As soon as the show was over, I was ready to come back and see it again. I don’t say that very often!
The next time you are in Chicago, make Teatro ZinZanni your first stop.
Teatro ZinZanni continues open ended Wednesdays through Sundays at the Cambia Hotel, 32 W. Randolph Street in Chicago. (312) 488-0900. Chcago-info@zinzanni.com
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