Music
The Streamed Love Never Dies Tries Desperately to Rise Up to Paris, But Lands in Coney Island
Now I can’t say with all honesty that I was super excited for this streaming adventure this weekend. As I wrote in my posting last weekend, I did have some connecting history with The Phantom of the Opera, now including the streaming experience from last weekend which restored a lot of my love for the piece. It’s melodrama in the highest order, but that sumptuous production, the 25th Anniversary Celebration at the Royal Albert Hall was most impressive in its staging and performances. It still isn’t my favorite piece of musical art, I’m sorry to say, but I now don’t think of it as ‘dusty’ as I had in the past. It actually was impressive and illuminating. So when it was announced early last week that the next Andrew Lloyd Webber streaming event on his #ShowsMustGoOn YouTube channel was going to be Love Never Dies, the sequel to his mega-smash Phantom, I was more curious than excited. The West End debut got a lukewarm reception, but this presentation was filmed later in Melbourne at the Regent Theatre after its West End debut and after some significant retooling. I will add, that walking into this show (or sitting down in my living room, to be honest), I expected to have a similar reaction within. Turns out, a lowering of one’s expectations does this production a whole lot of favors. I was, surprisingly, generally pleased, well entertained, but not blown away by any means.
The lush, gorgeous strings played strong, delivering what was expected, right from the beginning. It was clearly its own thing, but it did give us a connection to the iconic original music. He’s there, from the get-go, standing proud, silhouetted against a misty gothic world. Masked and singing full throttle as if he just stepped out of the 1980s, he shares his heartbroken soul with us, tortured by the absence of his true love and former student, Christine Daaé. In the achingly dramatic “Til I Hear You Sing“, his voice carries the desperate longing to hear her sing again, and we easily feel his pain. Beautifully voiced by the debonaire Ben Lewis (West End’s Company), the sound is exquisite and rich, bursting forth with just enough tinting from the Phantom to make us feel well cared for in the sequence. I was about to say, “but then it all shifts“, when in reality what follows is something compellingly different, although this Phantom remains as true to form as one could hope for and imagine, but living in a different time, place, and style.
We find ourselves thrown into an abstractly parallel universe, where opera has been replaced by a sideshow oddity kind of entertainment down in Coney Island. Someone that resembles a toy soldier beacons us into the carnival wonderment that has been marvelously redesigned and created by director Simon Phillips, choreographer Graeme Murphyam, and designer Gabriela Tylesova. It is called Phantasma, and a trio of freak show performers; Dr. Gangle (Dean Vince), Miss Fleck (Emma J. Hawkins), and Mr. Squelch (Paul Tabone), take us deep inside the magically cavernous space, introducing us all to the wonders of “The Coney Island Waltz“. It doesn’t feel like the same show, but the artifice has something compellingly similar in its core; a dark sinister quality that although isn’t gothic, it’s something quite emotionally close.
It’s a spectacular alteration of style, and even though the opening cacophony of altered musical sounds and visuals are almost overwhelmingly different and carry on a bit too long without any explanation, the distorted new vision is arresting, albeit over the top. The reason we find ourselves in such a different local is finally unveiled to us by the stern Madame Giry, forcibly portrayed by Maria Mercedes (Regent’s Sunset Boulevard). She explains how she and her daughter, Meg Giry, played by the very game and charming Sharon Millerchip (Sydney Theatre Company’s Into The Woods), Christine’s dancer friend from the Paris Opera, had smuggled the Phantom in from France to New York City ten years ago and assisted him in gaining some stability and success in the very different world of Coney Island.
The Phantom’s vaudeville show, which Madame Giry orchestrates features Meg who dreams of winning over the crowd, and the Phantom with their performance. It’s “Only for You” is what she sings when hearing that her friend and, I guess, her rival, Christine, has been lured to New York City to open Oscar Hammerstein’s new Opera House. In one of the more compelling harmonious moments of multi-layered conflict and intention, Madame Giry angrily expresses concern that Meg will not be able to hold the Phantom’s attention with Christine’s arrival, but Meg ignores the warnings and looks with joy and excitement to her old friend’s arrival after “Ten Long Years“.
Christine arrives, finally, with Raoul, her husband, and their young son, Gustave at her side on a ship from Europe, and climb in, hesitantly into an awaiting black vehicle that has been sent for them. It’s a visually arresting scene, but way over the top for what it is, and overly filled to the edge with dramatic clashes and conflict. As Christine, Anna O’Byrne (Sydney Opera’s 60th-anniversary production of My Fair Lady) cuts a beautifully and stylishly silhouette, but their marriage is fraught with tension, far from the place we last saw them when they escaped their last run-in with the Phantom. Raoul, portrayed by Simon Gleeson (West End’s Les Mis) is testy and on edge, constantly snapping at Christine and their gentle yet needy son, lovingly portrayed by the gorgeously voiced Jack Lyall. It’s a shame their marriage is not painted in a less obvious stroke, setting up a clash between Raoul and the Phantom that would feel less certain. The battle feels in a way already settled before Christine even comes face to face with her former lover and teacher. It plays down the drama and siphons out any sexual or romantic tension as we have a hard time embracing the bitter and mean-spirited Raoul from the moment he steps off the ship.
Once the Phantom easily lures Christine away from the overly spoken-about Hammerstein Opera House to sing one song at his carnival ride of a theatre, the other mystery of the show gets tossed out quickly and again, without any tension attached. It revolves around the origin of the musically gifted ten-year-old Gustave, not surprisingly, and with that said, all that lays in between Christine’s arrival and the finale is pretty obvious and easy to guess, or at least understood in a House of Mirrors kind of way. The part you can’t guess is how lovely yet unremarkable the music by Andrew Lloyd Webber and lyrics by Glenn Slater truly are, and how most songs don’t advance the plot up and around the story, as much as the actors do on that fantastical multi-layered set creation.
There are few strikingly memorable musical moments, and that’s not to say that the score of Love Never Dies isn’t well crafted or luscious in its melodramatic form, it just doesn’t pull you in with as much force as The Phantom of the Opera. That 1980s musical easily seduced us down into the cavernous waterways, jumping gladly into the dark watery shadows with these two obsessive lovers, but in Love Never Dies, we only sit back and observe, enjoying the wall-to-wall Lloyd Webber sound, but never getting hooked. Even with the two or three songs that are great stand-alone numbers, such as the beautifully sung “Before the Performance”, the overall effect stalls within the framework of mild entertainment, but never swooning nor transformative.
It says quite a lot about this show that it has never made it to Broadway. There is definitely a global Phantom-loving fanbase that would eagerly shell out the cash to reconnect to the emotional lives of the three main characters, but they would be jarred by Christine and her childhood sweetheart, Raoul, so out of love with one another throughout. Instead of working up to a real or melodramatically conflict, Phillips concentrates on conceptually spectacular visuals, while ignoring the emotional dynamics. This is particularly true with the lost opportunity for the lonely young son and his real father to share a more compelling moment or a song together once the truth is revealed.
Andrew Lloyd Webber started working on Love Never Dies in 1990, but it was not until 2007 that he actually began writing the music. I heard a tale about a cat on a piano erasing the score, but I’m not sure if that is true or a dramatic reading of an artist blocked. Regardless, the show opened at the Adelphi Theatre in London’s West End in March of 2010 to mostly negative reviews, dashing all hopes of a planned Broadway opening soon after. But the subsequent Australian production, filmed here for our streaming pleasure, features a new director and an entirely new design team, with heavy revisions granting the production more positive reviews. The original Phantom had a number of awkward plot points that never really made a lot of sense if you stopped and thought them through, but the emotional and sensual journey kept us moving briskly through the tunnels of love. Here the exquisite performances hold us, especially O’Bryrne’s thunderously good “Love Never Dies“, but then the show drops us down off the pier (that I didn’t know was a pier). We don’t see or feel the same level of grandeur. Beauty has been chosen over genius, just long or often enough to see the clumsy mechanisms behind Meg’s final ridiculous jealous actions. The Phantastic carnival masks are shed, and the abstract shiny surfaces that are pretending to be far more beautiful, are revealed to be just staging pieces, not as glamourous as we first thought.
For more, go to frontmezzjunkies.com
G.H. Harding
CHRIS CARTER — (Via Maz Digital) Chris Carter was 7 years old when his mother bought him Rubber Soul, the Beatles’ sixth studio album, at a ShopRite market in Wayne, New Jersey. Fifty-seven years later, he’s the ultimate Beatles expert as host for 22 years of Breakfast With the Beatles, a radio show carried each weekday on SiriusXM’s Beatles channel and Sundays on Los Angeles’ KLOS-FM. The show is celebrating its 40th anniversary, at the same time that music fans are marking the 60th anniversary of Beatlemania.
We talked with Carter about his unique position: He’s a musician too. Carter played bass in alternative rock band Dramarama in the 1980’s and 90’s. “I loved Paul’s bass playing, but I got into wanting to play the bass from listening to Grand Funk Railroad, Black Sabbath and Alice Cooper records. That really hooked me in.”He was in the right place when he got the job. Carter follows original host Deirdre O’Donoghue, who died in 2001.
The job offer call came just before he went to a Ringo Starr concert. “I knew once I got the job, I would be there ’til I died. This is one of those long-term things and I’m not going anywhere. “Prep keeps it fresh. “I have to handpick 60 Beatles songs a day, or solo Beatles songs, and have them pertain to that day—say, an anniversary or ‘today in Beatles history.’ There’s always something in Beatles history.” On Wednesdays, he spins a wheel to develop a topic for the show, such as “fifth Beatles” or “violins.” “I have to instantly put a set of songs together that matches that category.”
And news events also play a role. When Robbie Robertson of The Band passed recently, Carter made sure to note that by discussing and playing Ringo Starr’s “Sunshine Life for Me (Sail Away Raymond),” on which Robertson and other members of The Band played. “It never gets old. If they handed me a playlist, like they do for so many DJs, and said ‘Chris, play them,’ I would have no passion for that.” He was in the right place when he got the job.
Carter loves to provide tidbits about the songs he plays, so that listeners can experience them with fresh ears. “You’re dealing with 50- to 60-year-old music. If it’s not served up properly, you know, how many times can you hear ‘Hey Jude’? But if you put it in context, like this song was No. 1 for nine weeks. It was the first single over seven minutes long. And it was the first release on their own label. Most Beatles fans, they think they know a lot about the Beatles, but when you give them some information they might not know, then they’ll come back to you and listen again.” He broadcasts in front of a crowd. The satellite radio shows are put together in Carter’s home studio. But many of the shows for L.A. radio are broadcast live from one of three area venues. “I find it fun because in radio you never see your audience. Typically, you’re sitting in a room by yourself with a microphone. You could have maybe millions of people listening, but you don’t know who they are.
“The Beatles are fans. Paul McCartney and Ringo Starr have each called into the show for interviews, but Carter doesn’t have his head in the clouds about it. “They’ve got to sell a solo record. You’re on the radio. They need you for publicity. They know you’re there for them. Even though they’re the gods of the world, they still need you to sell their records.”SHORT TAKES — (Via Deadline) The meteoric political rise of George Santos and the web of fabulist tales it was built on are getting a movie treatment. HBO Films has optioned the rights to Mark Chiusano’s new book The Fabulist: The Lying, Hustling, Grifting, Stealing, and Very American Legend of George Santos, which was published on November 28, 2023. My only comment is, why? If this ever gets made, it will not be a hit. Exploitative? Definitely and not needed at all …
I’ve watched the two episodes of Hulu’s Fargo so far this season and though somehow intriguing, but didn’t I just see this show on Netflix – Who Is Erin Carter? Fargo’s creator Noah Hawley must have been transfixed by Carter. Odd for sure …
Also, just for the record, why was there so much Russian-dialogue in episode 4 of Apple TV+’s For All Mankind without any sub-titles? Clearly this show has suffered some major budget-cuts, but that was a huge error for sure. Ronald D. Moore’s creation started out brilliantly, but has become something like a space-age soap-opera. Sad for sure.
This show was among my favorites … I loved Chuck Lorre’s Big Bang Theory, so I was anxious to see his Bookie on MAX. Sebastian Maniscalco – who I don’t really get at all – left me somewhat underwhelmed. The show’s about a bookie – funny? Somehow it wasn’t. Even a cameo by Charlie Sheen w/o tiger blood was a letdown.
Zach Martin
Very disappointed … Joe Cocker-scribe Mark Bego speaks to Zach Martin Wednesday for his NEWHD outpost …
Chris Carter and Micky Dolenz 2. Who Is Eric Carter? 3. For All Mankind 4. Bookie 5. Zach Martin Ahmet and Mica Ertegun
HAPPY BDAY Randy Newman and RIP one of the most adventurous, creative and intriguing women I’ve ever known, Mica Ertegun.
NAMES IN THE NEWS — Kent and Laura Denmark; Steve Leeds; Ira Robbins; Richard Branciforte; Eppy; Barry Fisch; Frank Patz; Bobby Bank; Roger Clark; Edmond O’ Brien; Jonathan Clyde; Richard Johnson; James Edstrom; Tom & Lisa Cuddy; Kent Kotal; Bob Kaus; and BELLA!
Events
Music News: Julie Benko, Karen Mason, Debbie Wileman, Klea Blackhurst, Jim Caruso, Billy Stritch, KT Sullivan, Jeff Harnar, Stacy Sullivan and Todd Murray
CLUB44 RECORDS has released “The Man with the Bag” – the festive and swinging new single from breakout Broadway star Julie Benko. Her full debut holiday EP Christmas with You has also just been released. After skyrocketing to fame as Fanny Brice in Funny Girl on Broadway last season, Julie has returned to the New York stage in Barry Manilow and Bruce Sussman’s wonderful musical Harmony. “The Man with the Bag” is arranged by Jason Yeager. The EP Christmas with You is produced by Julie Benko and Jason Yeager, with arrangements by Jason Yeager.
Birdland Jazz Club will present the return of Broadway, recording and concert star Karen Mason for her annual holiday show “Christmas! Christmas! Christmas!” on Monday, December 11 at 7:00 PM. With Karen’s unique interpretations of holiday classics old and new, the holidays will never be the same. Sassy, brassy, and tinged with confessional monologs, this show includes a slinky arrangement of “Santa Claus Is Coming to Town,” a heartfelt “I’ll Be Home for Christmas,” and more.
Debbie Wileman, the singing sensation who captured world-wide attention during the global pandemic with her uncanny recreation of Judy Garland’s legendary voice, as she makes her return to Carnegie Hall on Sunday, December 10, 2023 as the star of “Judy Garland” We Need a Little Christmas.”
Debbie will be joined by special guests, including the legendary Tony Award-winning Broadway icon Chita Rivera and Academy Award winner Margaret O’Brien, the iconic film, radio, television and stage actress and one of the last surviving stars from the Golden Age of Hollywood cinema, with more guests to be announced. (subject to change)
Debbie will be accompanied by a live orchestra, conducted by award-winning musical director and arranger Steve Orich. She will take to the stage to perform Judy’s signature Christmas songs as well as newly arranged holiday hits that Judy may have performed if she were with us today.
Birdland Jazz Club will present the 14th Annual “A Swinging Birdland Christmas” – starring vocalists Klea Blackhurst, Jim Caruso, and Billy Stritch – for five performances from Thursday, December 21to Monday, December 25 at 5:30 PM. The December 22 show will be available as a special livestream, with tickets available HERE. This wildly successful extravaganza has been celebrating the holidays at this historic music room since 2010. In the tradition of beloved seasonal specials, the trio of singers will perform swinging arrangements of “The Christmas Waltz,” Kay Thompson’s “Holiday Season,” “Sleigh Ride,” “I’ve Got My Love to Keep Me Warm,” “Snow,” and “It Happened in Sun Valley,” among other favorites. The show will also include a musical tribute to Birdland regular Freddy Cole, who was also a holiday tradition. The vocalists will be joined by Steve Doyle on bass and Daniel Glass on drums.
54 Below, Broadway’s Supper Club, presents four award-winning New York cabaret favorites KT Sullivan, Jeff Harnar, Stacy Sullivan and Todd Murray with Music Director jazz virtuoso Jon Weber in the New York debut of We Love The Winter Weather Songs of the Holidays on Tuesday December 5th at 7pm, in-person and with a livestream option.
The show is an eclectic and entertaining holiday songbook including songwriters Irving Berlin, Jule Styne, Sammy Cahn, Carol Hall, Peter Yarrow, Mel Torme and David Friedman. The seasonal spotlight shines musically on traditional favorites as well as surprises including “Grandma,” Elvis, Peggy Lee and a “Short Attention Span Theater” retelling of the film White Christmas with the quartet donning the roles of Bing Crosby, Rosemary Clooney, Vera Ellen and Danny Kaye. This show had its debut at The Brownville Concert Hall in Brownville, Nebraska. This quintet of talent will send you out believing “It’s The Most Wonderful Time of the Year.”
This Christmas take a big scoop of classic Irving Berlin songs, have them sung by the ever sparkling Adrienne Haan, sprinkle in the voice of her musical director, Richard Danley and you have a festive feast for your ears. I have seen a number of Ms Haan’s shows at the Triad and each one includes something that makes it a step above a typical cabaret show. The first time I saw her there was an actual tuba on stage; the second a number of costume changes, other shows had duets with guest stars or choreography; this time hearing the singing voice of her long-time accompanist and musical director, Mr Danley. The two have bantered in the past but in this show Richard shows his vocal and comedic side with songs like I Paid My Income Tax Today and How About a Cheer for the Navy.
The man at the piano can sing
Of course Adrienne blew her audience away with her renditions of There’s No Business Like Show Business and Blue Skies; but, hearing the usually silent man behind the piano was a surprise to me like Teller taking the stage from Penn and his baritone was as shocking as hearing the bumbling Gomer Pyle turn into the rich voiced singer, Jim Nabors. The two of them created a wonderful celebration of Mr Berlin’s musical catalogue with a combination of solos and duets.
They really enjoy each other
Entering the theater, as the holiday season begins, and a show title of White Christmas at the Triad Theater, one would expect to hear 90 minutes of Christmas songs; but, read the second line on the program and you realize that it is really a celebration of the man who wrote one of the most recognizable holiday songs of all time, White Christmas. Not only will we hear the music of Mr Berlin but we will get some insight into his life as Adreinne celebrates his 130 year anniversary of his arrival in the United States. From Europe to Broadway to Hollywood; in military songs, love songs or holiday classics the trio of Haan, Danley and Berlin take us on a historical journey of a life well lead.
Adrienne has a number of costume changes – First up New Years Eve dripping in “ice”
Opening the show in a festive seasonal outfit ready for a New Years Eve celebration with “ice” dangling from her ears and around her wrist Adriene introduces us to some well-known Berlin tunes Alexander’s Ragtime Band and Let Me Sing and I’m Happy. One of the treats of her shows is that she does a lot of research into the music she sings and she has done her homework telling us about the life of Israel Beillin, immigrant from Imperial Russia, the country now known as Belarus. He only spoke Yiddish when he landed on Ellis Island so Ms Haan sings Ofyn Pripetchik in his native tongue and then follows with Berlin’s Give Me Your Tired, Your Poor – a tribute to that wonderful Statue in NY harbor. She finishes this section of the show with Marie from Sunny Italy which gives her the opportunity to show her strong vocal ability with a long strong belt of a song.
Army songs
Berlin came to America in 1893 at the age of 5 which means he was drafted into the army during World War 1, where he wrote the famous anthem Oh How I Hate to Get up in the Morning and which Ms Haan sang in military uniform. A number of tunes that Berlin wrote for both World Wars followed as the two singers alternated songs and Adrienne gave us some more tidbits about the composer. The song I Paid My Income Tax Today sung by Mr Danley is actually owned by the IRS. (I wonder is THEY have to pay tax on the royalties they earn when it is sung.)
When she sings some of Mr Berlin’s wartime songs she dresses for the occasion.
Ms Haan is a proud Luxembourger and as life imitates art, or vice versa, Mr Berlin’s Broadway and film musical, Call Me Madam is based on the life of Perle Mesta who was the Ambassador to Luxembourg from 1949-1953. Haan again showed she’s the singer with the zinger when she sang The Hostess with the Mostes’ on the Ball from that show as well as the tribute to the fictitious country in that show Lichtenburg. As far as art leading to reality it is interesting to note that Mr Berlin’s home, 17 Beekman Place, was purchased by the Grand Duchy of Luxembourg in 1990 a year after Berlin’s death.
She is one performer who uses every part of the stage
Berlin wrote over 1,500 songs in his 60 years of composing so to highlight all of the numbers Haan sings is too long a list; but, the jaunty I’ve Got the Sun in the Morning, They Say that Falling in Love is Wonderful, Cheek to Cheek and Blue Skies show her range of interpreting music. The love song Always was a particularly important song to Berlin and Haan did it justice as this song was written to Berlin’s wife, Ellin Mackay, on their wedding day.
Hittng high notes
Of all the show tunes, patriotic anthems, and love songs performed in this show I have to give a special shout out to the Haan/Danley duet of You’re Just in Love. I have seen it sung by a number of Broadway stars, Merman, Stritch, Donald O’Connor and Larry Blyden, (and for the newer generation, Laura Osnes and Santino Fontana) in the past; but I’ve never seen the male singer play the piano at the same time. WOW!
Facial Expressions bring life to her Songs
It is the holiday season, remember, so Ms Haan’s third costume change is a beautiful red gown that fits the time and she finished the evening with the traditional songs of the Yuletide spirit, including Happy Holiday, I’ve Got My Love to Keep Me Warm and of course White Christmas.
This is not a traditional Christmas carol singing show but Ms Haan never is one to follow the norm. This was a wonderful tribute to Mr Berlin with added surprises featuring the excellent wit and talents of both Adrienne and her musical director and accompanist of 22 years, the unsung (until this show) singer Mr Richard Danley.
A second show is at the Triad on Tuesday, December 5 at 7PM. It will get you smiling and into the holiday spirit.
Essential Voices USA, Judith Clurman, Music Director and Conductor, announces the release of Christmas Joy,a new collection of holiday music that was all recently commissioned by Essential Voices USA. The centerpiece of the recording is “Christmas Joy,” a through-composed work, scored for chorus and string quartet. The arrangement and text adaptation are by Josh Clayton and Judith Clurman. The carols heard are Silent Night; Hark! The Herald Angels Sing; Angels We Have Heard on High; O Come, O Come, Emmanuel; O Come, All Ye Faithful; and Joy to the World. The two other pieces are “Illumination” by Pierre Jalbert (music) and William Schermerhorn (lyrics) and “The Snow” by Bill Cutter (music) and Lewis Carroll (lyrics). The recording on Albany (Troy 1955) can be streamed on all platforms. The recording was produced and engineered by Silas Brown, who was assisted by Doron Schacter and Michael Schwartz. The recording can be streamed on all major platforms. The published scores will be available in 2024.
Members of Essential Voices USA: Phillip Cheah, Paul D’Arcy, Olivia Sue Green, Chloe Holgate, Heather Jones, Linda Jones, Helen Karloski, Enrico Lagasca, Elizabeth Lang, Steven Moore, Neil Netherly, Nicholas Prior, Gregory Purnhagen, Elisa Singer Strom, Jason Weisinger with Apprentice members – joining on Christmas Jo y- Michael Douris, Roberson Keffer, Marie Schwab, and Norman Schwab; The Essential StringsSuliman Tekali and Yu-Chie Wang violins; Caeli Smith viola; and Coleman Itzkoff cello.
TRACKS
I Illumination 3:13
II The Snow 2:06III Christmas Joy 13:48
STREAMING LINK on all platforms
The premiere performances Judith Clurman will conduct her Essential Voices USA in A Concert and Family Carol Sing-Along on December 16, 2023 at St. Malachy’s – The Actors’ Chapel (239 West 49 Street), New York City, at 7:30PM. The chorus will be joined by The Essential Strings (Suliman Tekalli & Rita Wang violins, Caeli Smith viola, Aaron Wolffcello), Organist Stephen Fraser, and David Chase and Paula Leggett Chase, who will read beloved Christmas poetry. The event is part of EVUSA’S The Community Project, a program which provides concerts and sing-alongs and is free of charge to the NYC community.
The evening will include the World Premieres of the three new works that are featured in the ensemble’s recent holiday recording “Christmas Joy” (Albany Records): “Christmas Joy” – arranged, with text adaptation by Josh Clayton and Judith Clurman; “Illumination” – by Pierre Jalbert (music) and William Schermerhorn (lyrics);and “The Snow” – by Bill Cutter (music) and Lewis Carroll (lyrics). The poems that will be read include “The Night Before Christmas” (Clement Clarke Moore), “little tree” (E.E.Cummings), and “Love Came Down at Christmas” (Christina Rossetti). Organist Stephen Fraser will play an organ fantasy on the beloved carol “O Holy Night,” and the audience will sing-along with EVUSA on traditional carols, with newly arranged accompaniments for string quartet by Bill Cutter.
Let me just state that I love the Stephen Sondheim/David Ives musical/play Here We Are. It’s as if the genius, known as Sondheim was trying to resolve his life. The first act is cynical and the characters are hypocritical, while the second act is about coming to with grips with life’s choices and surrendering to the inevitable.
Micaela Diamond, Amber Gray, Steven Pasquale, Bobby Cannavale, Rachel Bay Jones and Jeremy Shamos Photo by Emilio Madrid
The music is like playing Sondheim jeopardy. His motif’s from other shows are blended into new songs that make you want to have a pen and paper to play the game. I can’t wait until the CD comes out. I’ve been told that it is being recorded in January.
The cast and Rachel Bay Jones Photo by Emilio Madrid
The show is highly surreal, with life’s journeyIn question. Think “The Outer Limits” or “The Twilight Zone,” very Rod Serling.
Jeremy Shamos, Tracie Bennett, Amber Gray Photo by Emilio Madrid
Based on two Luis Buñuel films “The Discreet Charm of the Bourgeoisie” (1972) and “The Exterminating Angel” (1962). Act one has Leo Brink (Bobby Cannavale) a entitled tycoon whose opinion is the only one that matters, his wife Marianne (Rachel Bay Jones) who lives for beauty and is a bit on the vaped side, their friends Paul Zimmer (Jeremy Shamos), a plastic surgeon celebrating his 1,000th nose job, his wife, Claudia (Amber Gray), an agent who lives for the celebrity of it all, Raffael Santello Di Santicci (Steven Pasquale), an ambassador from Moranda who lives for the number of notches on his belt and Fritz (Micaela Diamond), Marianne’s younger sister, who wants a revolution, while also wanting to live the good life, searching for brunch. It turns out Leo, Paul and Raffael run a drug cartel. As the day goes down the hill Marianne keeps asking Leo to “buy this perfect day for her.”
Amber Gray, Jeremy Shamos, David Hyde Pierce, Bobby Cannavale, Steven Pasquale Photo by Emilio Madrid
Act two is a little more dark. While they finally find food, the consequences of their choices keeps them trapped in purgatory. Enter a colonel (Francois Battiste) whose parents were killed for $26.15, a soldier (Jin Ha) who has feelings for Fritz due to his dreams and a bishop (David Hyde Pierce) who wants another job, has a shoe fettish, and plays piano, until there is no more music. This act is very reminiscent of Steambath. I love the homage to “The World According to Garp” and the bear.
Jin Ha, Micaela Diamond Photo by Emilio Madrid
Playing butlers and maids and assorted restaurateur’sare the incredible Tracie Bennett and Denis O’Hare. Kudos has to go out to the wigs by Robert Pickens and Katie Gell and the neon various establishments. white box set and costumes by David Zinn.
Jeremy Shamos, Amber Gray, Bobby Cannavale, Denis O’Hare, Rachel Bay Jones, Steven Pasquale, Micaela Diamond Photo by Emilio Madrid
Joe Mantello’s staging is exquisite, allowing for each of these brilliantly talented performers to take center stage. This is true ensemble acting and I hope when the Drama Desk is giving out awards this wins.
Where many have criticized the lack of music in the second act, it makes perfect sense. The music stops. The concept very much reminds me of Davids Cromer’s Our Town, when Emily dies and suddenly things are in color and have smells. It makes complete sense that once you are trapped the music would die.
Natasha Katz’s lighting really helps the shinny set take shape, Tom Gibbons’s sound makes the inner world come to life and Sam Pinkleton’s choreography is just enough to make this move seamlessly.
Alexander Gemignani, and Jonathan Tunick, make Sondheim’s music an art and I for one appreciate the subtlety and musicality. Many may not know that Sondheim was a game master and in this it is like he won the final game of “putting it together”.
Here We Are, is intelligent, witty with so much to say and if you ponder the meaning of life you to will walk away extremely fulfilled.
Here We Are, The Shed, 545 West 30th through January 21st
My View: IT’S TOUGH TO SWING LIKE FRANK….THIS TOUGH GUY CAN…..ROBERT DAVI
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