Bernadette Peters: McCallum Theatre

For the third time in my life I would be seeing Bernadette Peters perform live, and this excited me – especially considering three years ago I didn’t think such an amazing thing would ever happen.

Bernadette Peters in concert was advertised as taking place at the McCallum Theatre in Palm Springs. So, naturally I booked accommodation in Palm Springs knowing that it was a rather small city and transportation to and from the event would be easy. Alas, the theatre was actually about 25 minutes drive away in Palm Desert.

After doing some research I found a bus that traveled from Palm Springs to Palm Desert – taking around 50 minutes. Only costing $1, it was my only economical option.

I purchased my ticket to the show quite a few months ago and therefore got a seat about nine rows from the stage, right in the centre.

The show was very similar to the show in Adelaide 2009. She wore a similar gown, rather than being pink, this one was slightly more purple, with beautiful beading that made the dress sparkle under the lights – like Jessica Rabbit.

The performance began with a lot of energy, the songs were mainly upbeat, with Bernadette’s versions of ‘Let Me Entertain You’ and ‘Nothing like a Dame’. She pulled out a few classic songs, like ‘No One Is Alone’ and ‘Some enchanted evening’, which were both beautifully sung.

Two of my favourite songs she regularly sings, ‘Not A Day Goes By’ and ‘Johanna’, were sung back to back and delivered with high energy and extreme force. These ballads were obviously other audience favourites with applause lasting longer than normal.

She then sang a few lesser-known Sondheim songs, and more gentle songs that made the show begin to drag a little. Now, anyone who knows me knows I find it difficult to say a bad word about Bernadette, however, I don’t know if it was the poor ordering of songs or her deliverance that made this part of the show feel less entertaining and energetic.

She ended the formal part of her concert with a power ballad that she’s also famous for singing, ‘Being Alive’. After her second curtain call, she returned to the stage to sing two goodnight songs, one sitting on the piano and one down with the audience. Even though these songs were slower and softer, they were more appealing than the previous slow songs because they were much more intimate and personal.

Overall, I was still in awe of Miss Peters and her talents. I was expecting a little more diversity from what was offered in her Adelaide performance, rather than much of the same. Regardless, I still believe she’s an amazing live performer who sings with her heart for every song.

Fate smiled on me by sitting me next to a woman who was visiting her parents in Palm Springs. After a quick conversation they generously offered me a ride back to my hotel – otherwise I would have had to run to make the last bus, and sit on it for 50 minutes. This topped off what was already a truly magical night.

Wicked: Broadway

I’ve seen Wicked in both Sydney and Melbourne. My experiences have shown me that different productions can vary greatly regardless of the same script and score. That being said, as my last Broadway stint I thought it was only appropriate to see Wicked on Broadway – being Broadway’s most successful production in the past ten years.

Finally, I would be seeing Wicked without the under par acting and vocal skills of Bert Newtown and Rob Mills!

Teal Wicks as Elphaba was unmistakably perfect for the role. The transformation from her initial boyish gawkiness to seductive Wicked Witch of the West is one of my favourite elements of the show. At first I was unsure about Wicks’ low, seemingly alto voice and wondered how she’d manage the high notes in ‘Defying Gravity’. However, during ‘The Wizard and I’ I witnessed the other side of Wicks’ singing ability as she hit each note with clarity and perfection. The audience burst into applause at the end of the song, I think it became clear from this point that Teal Wicks as Elphaba would not disappoint.

The other female lead, Galinda, played by Katie Rose Clarke was the perfect contrast to Elphaba, not only in appearance but also in acting style, girlish voice and overall presence. I did feel, however, that Clarke could have generated a bigger impact by accentuating different elements of her character. It was only in ‘Popular’, Galinda’s signature song, that Clarke really shone; at most other times she was superseded by Wicks, who pulled my attention throughout the show.

Kyle Dean Massey as Fyero was charming and bright with the right blend of conceitedness. Although, I’m not sure the role really showcases his talents, of which I saw in Next to Normal. That being said, I think he was also perfect for the role. The chemistry between him and Galinda, and subsequently with Elphaba, was undeniably strong. The passion in ‘As Long as you’re Mine’ was deep and real, chilling and intense.

My two favourite songs in the show ‘Defying Gravity’ and ‘No Good Deed’, both primarily sung by Elphaba, exceeded my expectations. In ‘Defying Gravity’ when Elphaba is lifted into the air by her broom, the magical lights descend past her and smoke rises from the floor, my heart began pounding like crazy. I think I may have even stopped breathing while my face and chest got hotter and hotter! I felt as if I was being pushed into the back of my seat with the intensity produced by all elements of the production. Golly!

In fact, all songs were performed well. I somehow didn’t even feel my normal hatred for any songs sung by the Wizard (P.J. Benjamin in this production), and actually thought they were quite entertaining.

The ensemble, like most other shows I’ve seen so far, performed impeccably. Their dancing and vocal abilities were showcased throughout the production, helping to produce the magic that is Wicked.

The set was primarily similar the other productions I’ve seen, possibly with a few added scenery and props. The stage and auditorium were much larger than that of the previous productions I’ve seen allowing for a larger and more grandeur set, thus assisting with the overall impact of the show.

I challenge anyone who can deny the brilliance of Wicked. The narrative and score combine to present issues much larger than a lot of other successful musicals. Take this magic and put it on a Broadway stage with the phenomenal cast and how could you go wrong? I’m extremely happy that I got the opportunity to experience this production on such a grand scale.

Mary Poppins

I love Julie Andrews. Thus, I love any film that stars Julie Andrews. Wanting to see Mary Poppins on Broadway I also hoped to encounter a little of the magic that Julie Andrews once brought to the stages of Broadway, the West End, and in the role of Mary Poppins, which she originated in the film by the same name. I was not disappointed.

Laura Michelle Kelly as Mary Poppins was simply astounding. At times she actually showed similar vocal qualities to Julie Andrews, bringing life and the necessary quirky double-edged brightness to the role. Kelly astounded me several times throughout the performance with her also amazing understated dance ability, especially in ‘Supercalifragilisticexpialidocious’ (what’s incredible is that Microsoft Word recognises that as an actual word), where the entire ensemble literally spells with letters of the word with cleverly choreographed dance movements.

In true Disney style each major song climaxed in extraordinary harmony, generated by the talented ensemble and leads. The show includes quite a few dance numbers, consisting of a couple of tap routines and chorus lines, refreshingly bringing back to life classic and retro Broadway – as I haven’t seen this in any of the shows I’ve been to so far.

The set played a huge role in supporting the narrative. The moving manor of Cherry Tree Lane, the children’s bedroom in the attic and London Bank were incredibly detailed and segwayed well from scene to scene.

To be honest, no one in the cast really stool out to me except Laura Michelle Kelly. I think this is because everyone performed equally and were given similar stage time. Regardless, I found no faults in performances and I think the cast worked well together
to create the magic of the show.

I left the theatre a happy little boy, believing once again in the magic of Disney.

The Addams Family

I had heard mixed reviews about The Adams Family Musical, but considering my love for Andrew Lippa (music and lyrics) and the amazing cast – I couldn’t leave NYC without giving it a go.

I got chills down my spine as the overture played, the curtains rose and the cast emerged through a fog in a cemetery. From this point, I was hooked.

The plot incorporated the traditional Addams Family scenario; conflict between the strangeness of the family and the normality of the outside world. Wednesday (Krysta Rodriguez) falls in love with a normal boy, Lucas (Wesley Taylor) and a dinner is set up at the Addams mansion with his patents (Terrence Mann and Carolee Carmello).

I grew up with The Addams Family movies of the 90’s with Anjelica Huston, Raul Julia and Christina Ricci. At first, it was a little hard to accept Nathan Lane (Gomez) and Bebe Neuwirth (Morticia) as the two leads. The characters had been transformed to suit a live stage performance, and also obviously interpreted differently by the actors. However, by the end of the first act they’d won me over with their unique interpretations.

Nathan Lane, as always, was hilarious. He truly is the master of characters; creating a caricature that is yet somehow believable and appears completely natural.

Throughout the show I really wanted to see Bebe Neuwirth let loose with a little Fosse and showcase her talents as a Broadway star, and she didn’t disappoint. Her skirt was lifted and a headless rose stem placed in her mouth for the traditional tango where she was joined by the Addams’ dead ancestors, as the ensemble. Neuwirth was outstanding, like Lane she presented a realistic caricature and brought Morticia to life on stage. I can’t believe at age 52 she can still dance like that!

Carolee Carmello is a phenomenal performer. I loved watching her brake loose and belt out songs with brovado like no others in the show did. I wish there was more of an opportunity in the show to showcase her talents.

The remainder of the cast and ensemble performed well also, but the three above were my standouts. Like in most shows, the ensemble pieces really brought the show to life. Lippa’s harmonious discord was showcased brilliantly – I think they chose the right composer to match the kookiness of the family.

A lot of thought had gone into the set, which changed with each scene. The curtain was frequently utilised to create more intimate settings whilst allowing for unseen set changes. The set changes that occurred before the audience’s eyes in the Addams’ house actually helped contribute to the complexity and confusion that is the house itself.

Overall I was quite impressed with the whole experience. There is nothing complex about the plot or even character development but I think that’s for the best considering other elements of the production. I was truly entertained by The Addams Family – and I think at the end of the day, that’s what really counts.

Driving Miss Daisy

Thanks goodness for student rush tickets. Without purchasing tickets to Driving Miss Daisy months in advance I would have otherwise had to pay up to $260 to see the show. Student rush tickets allowed me to see the show for $26. Woo!

No wonder the tickets were so expensive with acting legends James Earl Jones and Vanessa Redgrave in the two lead roles, Hoke and Daisy. I must admit that although I wasn’t necessarily completely taken in by the celebrity factor, it did play a considerable part in my initial choosing to see the production.

My seat was incredibly uncomfortable in the Golden Theatre, the man next to me was breathing quite heavily and without musical numbers to entertain me it took a little while before I truly settled and was able to enjoy the performances.

The narrative has many elements and themes that emerge throughout the play. The most prominent being black oppression, which is in some ways compared to Jewish oppression and standards of living. The conflict between the two main characters is established immediately, but evolves throughout the 20-year course of their relationship, which unfolds on stage.

The cultural differences and conflicts underpin the narrative to allow the emergence of the universal themes of friendship, the need for companionship and how these needs can ultimately overrule all other issues.

Both Vanessa Redgrave and James Earl Jones were terrific to watch. The chemistry between them felt natural, as did the comedy they produced. Their on-stage ageing of 20 years was effectively nuanced by both script and character interpretation.

James Earl Jones’ timing was impeccable. It’s clear to see why he’s been successful on Broadway for so long.

Four-time Tony Award winner Boyd Gains as the third cast member, Daisy’s son, catalyses the events that unfold. His performance matched that of the others, although on stage for considerable shorter periods of time.

During curtain call I became part of yet another standing ovation. Another great Broadway show …

La Cage Aux Folles: the New Standard for Drag

I’ve seen many a drag show in my life but I’ve always been left wanting something more. Watching men wearing wigs and heels lip-sync and move their arms has never overly impressed me, particularly considering the tens of professional live music theatre performances I’ve seen in my life.

La Cage Aux Folles surprised me. Yes, I knew the drag queens would be singing live but I wasn’t aware the male drag ensemble would be so incredibly talented, both vocally and physically. I was also not aware that the show would reach depths beyond the superficialities of glitter and sequins.

Douglas Hodge was so entertaining and most definitely believable as the overly gay Albin. At first his performance was somewhat two dimensional but this was quickly turned around in the show’s signature tune I Am What I Am. On paper the song comes across as one of celebration and liberation, but Hodge emphasised the outer tones of gay oppression bringing to light the early struggles of homosexuality. He completely opened himself to this song, laying his vulnerabilities on the stage and creating an energy that was chilling, moving and empowering

Kelsey Grammer as Georges was of course spectacular. Grammer’s stage experience was obvious as be conquered the role with his infamous diction and brightly masculine singing voice. The kiss shared by Hodge and Grammer at the play’s end was in many ways relieving, as it was perhaps only here that I truly believed Grammer as gay, rather than just borderline throughout the rest of the performance.

The remainder of the cast supported these stars successfully. The individual personalities of each performer shone through, encouraging the acceptance of the scripted humour and physical comedy, which were delivered naturalistically.

The set was simple and effective. The scene with the male ensemble dancing within the birdcage was enchanting, never have I seen such flexible men strutting their wears so openly. I really think that the producers and choreographer (Lynne Page) took full advantage of the script and the possibilities available from such a talented cast.

La Cage Aux Folles is a truly amazing show because it incorporates the well-received stereotypical glitz and glamour of Broadway with serious underpinnings of gay oppression in the plot. This is achieved by the employment of a diversified talented cast, that I could tell really gave 110% and maintained this level of energy throughout the whole show.

At last a real drag show! Singing, dancing and acting: it’s that simple, and it works. I don’t think I’ll be able to watch an amateur drag performance non-judgementally ever again: a new standard has been set.

Chicago the Musical

Any theatre fan will tell you that the movie musical Chicago is an extremely overstated interpretation of Broadway’s 1975 Kander, Ebb and Fosse original. Having such a love for the glitz and glamour of the film I wasn’t sure how I’d respond to an understated live performance. I was also interested to see if and how the production was in any way affected by the success of the film.

The curtain rose exposing the band, which played on stage for the entire performance. It was initially a little distracting to be watching a conductor orchestrating the music and performance, but soon the rawness of the show settled in and I could truly enjoy the singing and dancing.

It was actually quite humbling to see that the show remained at its bare minimum: band, performers in black costumes, sound and lighting. This combination truly allows for the magic of the show to be exposed.

I caught myself smiling regularly throughout the show in response to the dancing, choreographed by Ann Reinking, Fosse’s mistress come protégé. If the show was presented in the same style of the film, the beauty of Fosse’s wrist movements, arm swinging, signature foot work and cigarette smoke-filled down lights would have been lost completely.

I actually got to the point where I thought the show could have been a little more raw and a little less cheesy, although this quality added much needed colour to the production.

I performances were all good but I often felt I would have enjoyed it more thoroughly if they were all drop dead gorgeous, rather than an odd mix of tightly-tones young dancers and seemingly tired older performers.

Bianca Marroquin as Roxie Hart brought depth and personality to the role, I think unseen in the film. Her performance of ‘Roxie’ was enchanting and balanced perfectly the pivotal transition of the character from jazz baby to diva. I felt Marroquin fully comprehended the magnitude of Fosse inspired choreography, possibly more than any other cast member.

I have never seen a woman with longer legs than Leigh Zimmerman, as Velma Kelly. Her high kicks and chair work hit the spot for me. Zimmerman’s soul-like voice was perfect for the role. I loved listening to her bravado, filled with power and heart.

The ensemble made the show, proving that you don’t need 40 female dancers to pull of the ‘Cell Block Tango’. ‘We Both Reached for the Gun’ was a stand out piece for me; so dynamic and energetic.

If you want to experience the magic of Chicago the movie – watch the movie. If you want to experience some old school Broadway Fosse then definitely head to 49^th Street where you’ll enjoy Chicago, the original interpretation.

Next to Normal

With no plans for the evening, I made plans to take a chance on the lottery – Broadway’s ticket lottery that is.

To make the Broadway experience more affordable and accessible for tourists and students, a few years ago many theatres implemented Broadway lottery and rush, most of the time reserving front and second row seats that become available to lucky winners for the reduced price of $20 to $40.

As the show I was seeing, Tony award winning hit musical Next to Normal, is closing this week there were about 100 other contestants in the lottery and I did not win. However, that had lottery loser’s tickets for $40 – so I bought one and then wandered around Times Square for the next hour waiting for the doors to open.

source: http://www.cheekychicago.com/

Next to Normal is a rock-musical exploring the struggles of loss and its consequences on the affected, and their affected. The narrative of mental illness was dealt with sensitively; yet also with full impact- generating a rollercoaster ride of emotions for both the cast and audience. In fact, I’m not sure how Marin Mazzie, the female lead, returns each night to repeat the onset of emotions she displays through the performance.

Kyle Dean Massey, as Gabe, was extraordinary. I often find it hard to connect with male performers, especially singers, and actually enjoy their music/singing. However, Massey had me at hello! Not only is he a pleasure for they eyes he has the good to back it up. Performing with vigour he hit every note, didn’t miss a beat and entranced the audience with his commitment to the role. I’m going to say it: he is by far the greatest live male performer I have ever seen. Massey is also taking on the role on Fiyero in Broadway’s Wicked on January 25^th … and I’ll definitely be hanging out for that!

The remaining four cast members also did a great job, however sometimes their performances felt a little timed and forced. Massay and Mazzie definitely stole the show for me.

Unfortunately the show closes this weekend to start touring. I’m almost certain it will be in Australia in the near future, and it’ll be interesting to see how it’s produced and received.

A Little Night Music

… Or as I now call it, ‘a little piece of heaven’, as in – died and gone to.

Source: http://1.bp.blogspot.com/

I’ll start by saying that I was curious as to how a cast of actors could hold their own when performing with Broadway legends Bernadette Peters and Elaine Stritch. The cast were outstanding – and there were actually a few performances other than those just mentioned that shone a little brighter than expected (namely Jayne Peterson as Mrs. Nordstrom).

Up until now I don’t think I fully grasped the main concepts of A Little Night Music. Broken down, it’s a romantic comedy (at times quite dark) with underpinnings of the discourse of love and the only two true realities in this world: life and death.

When I was ushered to my seat in the tiny Walter Kerr Theatre, I was surprised to learn that there was no row A, and as I was to sit in the centre of row C, I was two rows from the stage, aka: two metres from Bernadette Peters.

WOWZERS! It was so great to experience a musical from so close, to actually be able to hear the actor’s voices and not just the projections from their microphones, to see every expression on their faces and experience close-up every emotion and the nuances of a talented cast.

The costumes and set were both fantastic: simple and understated, allowing the audience to absorb and analyse the complexities of Sondheim’s music and the intricacies of the plot.

I think it’s one of the first live musicals that I’ve seen where I can say it was simply a play with music. Dialogue diffused into singing seamlessly, and with the music not being showy or overpowering the naturalistic elements of the play were strengthened and the suspension of disbelief heightened.

Source: http://1.bp.blogspot.com/

And then there’s Bernadette … um, I almost wet my pants a little. After seeing her headline Adelaide’s Cabaret Festival in 2009 it has been a major dream of mine to see her perform again, especially in a musical. I would describe her performance tonight as flawless, humble and yet engaging and demanding of attention – but maybe I’m a little biased.

Peters’ interpretation of the show’s signature song, ‘Send in the Clowns’, was simply breathtaking – literally, I don’t think anyone in the audience dared to breath and miss a beat of this showstopper. As the tears rolled down her face, glistening under the stage lights, the audience around me, both men and women, also wipes tear from their faces. As the song ended and the audience applauded wildly, in true Peters’ style she stood contently with the most intent look in her eyes and simply exited as if completely unaware of the audience’s presence.

Stritch was also captivating to watch, the sincerity and wisdom of her real life person shone though into her character role. Although her and Peters shared only a handful of scenes, their chemistry as mother and daughter was believable and multi-layered.

Of course, the play ended with a standing ovation and several curtain calls from the leads. If I’ve got you thinking, ‘wow – I’d love to go and see it’, I’m afraid you’re too late; it closes tomorrow, sorry!

I spent the proceeding hour waiting outside the stage door in the minus five-degree cold and eventually gazed eyes upon my idol, got her autograph and attempted to get my legs working to walk home.

What an amazing night, my first Broadway experience, and right now I can’t imagine that any experience in the future will ever surpass it.

Les Misérables

Okay, so a lot of people would think that two West End musicals in a 24-hour time period is a little too much. Personally, I would beg to differ with those people.

On a last minute whim I purchased £32 tickets to see Les Misérables, sitting in the back row of the stalls of the Queen’s Theatre. The Cameron Mackintosh production is currently celebrating it 25^th anniversary, so I had high expectations.

I think that the true magic of the show can only truly experienced by actually seeing it for yourself. I had shivers down my spine for the most part, occasionally dropping my jaw in disbelief or expressing a tear in amazement.

The entire cast were phenomenal – Simon Bowman (playing Jean Valjean) and Samantha Barks (playing Eponine) in particular showcased resonance, bravado and restraint in their singing, playing with my emotions as their voices cut through the still of the auditorium. They commanded the stage and the audience.

The ensemble displayed perfection in their diction and control; each word expressed was clear and understandable, not a word out of place, not a note out of pitch. Ensemble pieces like ‘Do You Hear The People Sing?’, ‘One Day More’ and the ‘Finale’ were almost incomprehensively dramatic and powerful.

The lighting and set design played a huge part in establishing the mood of the scenes, as they segwayed flawlessly into the next almost like animation or a dream sequence.

I have never been so moved by a musical production, or not be able to fault some part of it. I’d happily watch it again and again to simply lose myself in the majestic awe of what is said to be, the greatest story ever told.