‘GUTENBERG! THE MUSICAL!’: Andrew Rannells & Josh Gad. Photo: Matthew Murphy.

GUTENBERG! THE MUSICAL!
Book, music & lyrics by Scott Brown & Anthony King
Directed by Alex Timbers
Through January 28, 2024
James Earl Jones Theatre
138 West 48th Street
(212) 239-6200, www.gutenbergbway.com

By David NouNou

Absurdity at its best.

The movies gave us the mismatched pairings of Laurel and Hardy, Abbott and Costello, the theatre gave us Lane and Broderick, and now the musical theatre has blessed us with Gad and Rannells. The mismatched pair of the 2011 heavenly musical The Book of Mormon have joined forces again to give us Gutenberg! The Musical! The title and the concept screams absurdity.

Bud Davenport (Josh Gad) and Doug Simon (Andrew Rannells) from Nutley, New Jersey have seen one too many Broadway musicals. They are now on a mission to write their own musical. They did a quick Google search on Johannes Gutenberg and couldn’t find much on him, so they decided to take an “historical fiction” approach. This means making things up to construct a musical. The setting is the medieval town of Schlimmer, Germany. Gutenberg had a wine press, which he converted to a printing press, so the masses could be educated. The possibilities for this new musical are endless. After all, isn’t this how musical comedy works?

Bud and Doug both sold all the possessions they owned to rent out a theatre to audition the musical they wrote for backers. This would enable backers to see the show and give them a contract to put this musical on Broadway. Bud wrote the music, Doug wrote the book, and they both wrote the lyrics. In addition, they are also going to play all the parts. Their idea of saving costs for this audition is to wear different hats that has the name of each character they are portraying.

The merriment is in their excitement of telling us, the “potential backers,” how they constructed their musical and how we should envision it. Schlimer is a rat-infested town which sounds absolutely abysmal, hence the set being sparse. The two play a multitude of characters which is customary for a musical to have a huge cast. It is the breakdown of the scenes and the “theatrical jargon” they use makes it all absolutely priceless.

All this might and should sound absurd to you, but in the hands of this dynamic duo, Gad and Rannells, you are with them every step of this ridiculous journey. Thanks in large part to Scott Brown and Anthony King who wrote the book, music, and lyrics to Gutenberg! The Musical! which seems like a page out of Mel Brooks’ The Producers, in this case taking a horrible idea for a musical and turning it into a gold mine. They are brilliant in showcasing how, in many cases, musicals can go so horribly wrong and still end up on Broadway.

Back to Gad and Rannells—what a terrific duo.  Years of working together on The Book of Mormon has given them expert timing in clowning and finishing each other’s thoughts and sentences. Their energy is boundless and their timing is better than that of a Rolex watch.

Director Alex Timbers has once again shown what a genius he is. From complex musicals like Moulin Rouge and Beetlejuice to comedian Alex Edelman’s one-man show Just for Us earlier this year or David Byrne’s American Utopia, Mr. Timbers keeps a watchful eye on everything. From sets and costumes, to dialogue, to score, to editing the material, which most directors nowadays forget to do, he is a perfectionist. He has tapped into Gad’s and Rannells’ chemistry, which shoots off fireworks.

For these troubled times, Gutenberg! The Musical! is the perfect antidote, to forget the world outside, and be happy in the world of musical absurdity.

Edited by Scott Harrah
Published October 18, 2023
Reviewed at October 17, 2023 press performance.

‘GUTENBERG! THE MUSICAL!’: Andrew Rannells & Josh Gad. Photo: Matthew Murphy

‘GUTENBERG! THE MUSICAL!’: Andrews Rannells & Josh Gad. Photo: Matthew Murphy.

‘GUTENBERG! THE MUSICAL!’: Andrew Rannells & Josh Gad. Photo: Matthew Murphy.

‘GUTENBERG! THE MUSICAL!’ Josh Gad & Andrew Rannells. Photo: Matthew Murphy.

‘GUTENBERG! THE MUSICAL!’: Josh Gad & Andrew Rannells. Photo: Joan Marcus.

The post ‘Gutenberg! The Musical!’ a musical comedy gem appeared first on StageZine.

‘THE BOYS IN THE BAND’: (left to right) Robin de Jesus, Michael Benjamin Washington, Andrew Rannells & Jim Parsons. Photo: Joan Marcus

THE BOYS IN THE BAND
Written by Mart Crowley
Directed by Joe Mantello
Through August 11, 2018
Booth Theatre
222 West 45th Street
(212) 239-6200, http://boysintheband.com/

By Scott Harrah

My first encounter with Mart Crowley’s The Boys in the Band was back in college, decades after it was originally produced in 1968. I read the play one evening in one sitting. I couldn’t put it down because I’d never read anything that had so many gay-male characters, speaking in such crisp, rapid-fire bitchy dialogue.  As engrossing as the play was to me in my early 20s, I also found it completely offensive, particularly the lead character Michael, a reprehensible man who is full of self-loathing and makes racist and anti-Semitic comments and jokes to his friends. Seeing the show in its first-ever Broadway revival, with a stellar cast under Joe Mantello’s tight direction, has taken much of the insolent sting out of Mr. Crowley’s classic.

It’s still a flawed play, dated and inherently off-putting by 21^st century standards, but if one looks beyond the now “politically incorrect” content, the show remains a curious masterpiece, and was groundbreaking for being the first drama to show a microcosm of the gay-male subculture. Before Boys, gay men were mostly portrayed in films for comic relief as effeminate, stereotypical characters (hairdressers, florists, interior designers, etc.). As a vehicle for Jim Parsons, Zachary Quinto, Matt Bomer, Andrew Rannells, Robin de Jesus (all openly gay, by the way) and others, this ebullient revival is certainly an event. For millennials and anyone too young to remember the dark days of gay life before and after Stonewall and the horror of the AIDS pandemic, it is an historical reminder of how far gay men have progressed.

The plot revolves around Michael (Jim Parsons), an unemployed writer who somehow can afford a posh, two-level Upper East Side Manhattan apartment (David Zinn’s scenic design is gorgeous, but seems too modern for the 1960s). Michael is a high-strung, well-educated man from the South and was raised in an affluent Catholic family. As the story opens, he’s preparing to host a 32^nd birthday party for his friend Harold (Zachary Quinto), a man he derisively refers to as a “pock-marked Jew.” His friend Donald (Matt Bomer), an easygoing “underachiever,” arrives after a canceled session with his therapist and is helping Michael with party preparations. The phone rings and Michael learns his supposedly straight college roommate from Georgetown, Alan (Brian Hutchison), is in tears and desperately needs to see him. Michael hesitantly invites his old friend over.

Guests start arriving. There is Emory (Robin de Jesus), the swishy interior decorator; “Cowboy” (Charlie Carver), a mentally vapid, pretty-boy blond male hustler and Emory’s “birthday present” for Harold; Hank (Tuc Watkins), a schoolteacher in the process of divorcing his wife; Hank’s lover, Larry (Andrew Rannells), a fashion photographer with monogamy issues; and Bernard (Michael Benjamin Washington), a bookstore clerk, the only African-American in the group and the butt of many cruel, unfunny racist jokes and “n” word slurs by Michael.

The play has been referred to as an anachronistic “Auntie Tom” story for gays because it depicts gay men as victims of both society and their own self-abasement.  Granted, Boys was written in an era when most gay men had no choice but to stay in the closet, but have supposedly close friends (gay or straight) of any time period ever been so vicious to each other? Then again, the premise of friends being catty to each other is the foundation of all the puerile, sophomoric TV reality shows nowadays, so in that sense The Boys in the Band was decades ahead of its time.

As the drinks flow, the guys’ true feelings come out and one of the narrative highlights is a “truth” game and Michael insists that each guest pick up the telephone and call someone from the past or present to proclaim their love. Painful secrets and pathos are revealed with each telephone call, but discussing them further would spoil much of the story.

Joe Mantello directs the amazing ensemble of actors beautifully, but the biggest disappointment is Jim Parsons as Michael. Mr. Parsons, a TV superstar in his own right as nerdy genius Sheldon Cooper on the megahit series “The Big Bang Theory,” is no stranger to the Broadway stage, appearing in everything from winning revivals of Harvey and The Normal Heart to the lead in An Act of God. Unfortunately, Mr. Parsons is miscast as Michael, because he exudes too much charisma and likability for the despicable character of Michael. Michael is a man who says mean-spirited, repulsive things like “Oh, you really gotta figger, it’s tough to be a n****r, but it’s tougher to be a Jew” and self-deprecating zingers such as “You show me a happy homosexual and I’ll show you a gay corpse.”  However, Mr. Parsons is too charming, guileless and—dare I say it?—too much like TV’s Sheldon Cooper when he should simply be vile. As Harold himself says, “Michael doesn’t have charm. He has counter-charm.”

Matt Bomer, Andrew Rannells, Charlie Carver, Robin de Jesus, Brian Hutchison, Michael Benjamin Washington and Tuc Watkins are all outstanding. This production’s biggest standout is Zachary Quinto as Harold. Mr. Quinto, first known for playing Spock in several Star Trek film sequels, is also a Broadway stage veteran, but here he gives one of his most memorable live performances ever. Although Mr. Quinto is perhaps too handsome for the role of Harold, he is nonetheless a revelation of wit and venom in his tinted glasses and outrageous mod 1960s garb, delivering his acerbic lines with zeal. However, in this case, he would have had greater impact on the show had he played the character of Michael. One can imagine how great he might have been in the role. Perhaps he might have evened out this production a bit and given Michael the hateful edge that’s necessary for the part.

Some have said that, without The Boys in the Band, there would never have been Angels in America and the countless gay-themed plays that followed, such as Terrence McNally’s Love! Valour! Compassion! Love it or dismiss it, Mart Crowley’s 50-year-old drama shows the dark, unsettling roots of LGBT life in the 1960s, and there is certainly a lot to ponder with these complicated “boys” back in town on the Broadway stage.

Edited by Scott Harrah
Published May 31, 2018

‘THE BOYS IN THE BAND’: Jim Parsons (left) & Zachary Quinto. Photo: Joan Marcus

‘THE BOYS IN THE BAND’: Jim Parsons & Matt Bomer. Photo: Joan Marcus

‘THE BOYS IN THE BAND’: The cast. Photo: Joan Marcus

‘THE BOYS IN THE BAND’:Zachary Quinto & Charlie Carver. Photo: Joan Marcus

‘THE BOYS IN THE BAND’: The cast. Photo: Joan Marcus

‘THE BOYS IN THE BAND’: Matt Bomer (left) & Jim Parsons. Photo: Joan Marcus

‘THE BOYS IN THE BAND’: The cast facing Brian Hutchison. Photo: Joan Marcus

‘THE BOYS IN THE BAND’: The cast. Photo: Joan Marcus

‘THE BOYS IN THE BAND’: (left to right) Tuc Watkins, Michael Benjamin Washington & Matt Bomer. Photo: Joan Marcus

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‘FALSETTOS’: Christian Borle & Andrew Rannells. Photo: Joan Marcus

FALSETTOS
Book by William Finn
Music & lyrics by William Finn & James Lapine
Directed by James Lapine
Through January 8, 2017
Walter Kerr Theatre
219 W. 48th Street
800-982-2787, www.lct.org

By Scott Harrah

The individual turmoil of characters, their neuroses and raw emotions, sung via melodic songs, are all at the heart of this superb revival of the William Finn-James Lapine musical. Falsettos remains a fresh, authentic slice of unconventional New York life, despite the fact that its characters lived decades ago. It originally appeared on Broadway in 1992 as a package of two earlier off-Broadway plays, March of the Falsettos and Falsettoland. Although parts of this mostly sung-through musical depict the troubles of another era, this outstanding production never feels dated.

Part of the show’s timelessness must be attributed to the stellar performances by a cast of Broadway veterans, but Mr. Finn and Mr. Lapine’s story about Marvin (Christian Borle), a man who wants to have it all (a wife, a child, and a male lover), was truly ahead of its time, written long before marriage equality and tales of nontraditional families became commonplace

The show opens in 1979 with Marvin about to leave his wife Trina (Stephanie J. Block) for a man, Whizzer (Andrew Rannells). Marvin and Trina’s young son Jason (Anthony Rosenthal) is caught in the middle of the maelstrom.  Meanwhile, the family’s psychiatrist Mendel (Brandon Uranowitz) starts a romance with Trina. In addition to the obvious LGBT theme, Falsettos also relies heavily on celebrating the Jewish New Yorker sensibility, particularly in the opening number “Four Jews in a Room Bitching.”  In fact, one of the reasons why the show holds up so well in 2016 is because it’s far more than merely a musical chronicle of a dysfunctional family and homosexuality. Everything from chess playing to Little League baseball is thrown into the mix. David Rockwell’s clever, simplistic sets frame everything wonderfully, with a cartoonish Manhattan skyline and what appears to be a giant 1980s Rubik’s Cube (remember them?) that is gradually taken apart at times to depict different settings.

Much of the narrative unfolds through song, and although Mr. Finn’s music and lyrics are repetitious at times, most songs are infectious and reveal each character’s feelings and frustrations vividly. One of the show’s best moments is Stephanie J. Block belting out the showstopper “I’m Breaking Down,”with lyrics that are humorous but also reveal her heartbreak when she sings, “He’s a queen/I’m a queen/Where is our crown?” 

Other highlights include “Marvin at the Psychiatrist (a Three Part Mini-Opera),” in which Marvin sings (along with Mendel, Jason and Whizzer) about all the reasons he needs psychotherapy.  In “March of the Falsettos,” all four male characters sing, in the titular falsetto voice to match Jason’s prepubescent tone, about the different aspects of masculinity.  Here it’s done cleverly with the guys all sporting fluorescent clothes, frolicking under black light. Pointless perhaps, but still great fun to watch.

While the first act focuses on family dysfunction, Act Two takes us to 1981. Marvin has split up with Whizzer and now lives next door to two lesbians, Dr. Charlotte (Tracie Thoms), an internist, and her lover Cordelia (Betsy Wolfe), a caterer specializing in “nouvelle” kosher cuisine.

Soon Whizzer becomes ill and enters the hospital.  At the same time, Marvin and Trina are nagging Jason about how he wishes to celebrate his bar mitzvah. To give any more detail would spoil the bittersweet twist of the tragic ending, but the final songs are some of the best, including Whizzer’s “You Gotta Die Sometime” and Marvin and Whizzer’s “What Would I Do?”

Mr. Borle makes a big departure here from his comic roles in Peter and the Starcatcher and Something Rotten as the self-absorbed, hopelessly neurotic Marvin.  Mr. Rannells, of Book of Mormon and Girls fame, is equally effective as Whizzer, and emotionally powerful in the show’s final songs.

The show’s biggest asset, however, is Stephanie J. Block.  Although she’s established herself on Broadway in a number of roles, Ms. Block gives the performance of her career as Trina, and she’ll certainly be a contender for all the awards in the spring. There is a haunting sincerity to Ms. Block’s Trina because, in every song she sings, from “I’m Breaking Down” to “Trina’s Song,” one feels her character’s helplessness in everything from her mannerisms (particularly the hilarious way she slices up a banana) to the beautiful, plaintive tone in her vocals.

Director James Lapine understands the scale of tragedy that was so rampant in AIDS-era New York, and his direction highlights the humanity, quirks and vulnerabilities of these characters’ lives and sheds humor and truth on them without coming across as heavy-handed.  Perhaps that’s why Falsettos can now be called a true classic.

Edited by Scott Harrah
Published November 7, 2016
Reviewed at press performance on November 6, 2016

‘FALSETTOS’: (left to right) Betsy Wolfe, Andrew Rannells, Christian Borle & Tracie Thoms. Photo: Joan Marcus

‘FALSETTOS’: Stephanie J. Block & Brandon Uranowitz. Photo: Joan Marcus

‘FALSETTOS’: Betsy Wolfe & Tracie Thoms. Photo: Joan Marcus

‘FALSETTOS’: Anthony Rosenthal & Christian Borle. Photo: Joan Marcus

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