‘& JULIET’: (from left): Joomin Hwang, Rachel Webb, Bobby Pocket Horner, Lorna Courtney, Virgil Gadson. Photo: Matthew Murphy.

& JULIET
Book by David West Read
Music & lyrics by Max Martin & friends
Directed by Luke Shepard
Stephen Sondheim Theatre
124 West 43rd Street
212-239-6202, www.AndJulietBroadway.com

By David NouNou

There is an infectious vitality to & Juliet that is off the charts. It has a great and actually funny, irreverent book by David West Read and a catchy score from start to finish by Max Martin & friends. No spoiler alert here, but the score includes Britney Spears’ “Baby One More Time” and “Oops…I Did It Again”, Katy Perry’s “I Kissed a Girl” & “Roar” as well as the Backstreet Boys’ “Everybody” and more surprises.

As Shakespeare wrote it, Romeo takes his poison and dies. Juliet awakens from her drugged coma, learns from Friar Laurence of what happened, and stabs herself to death. The end. Well, not in this version. Juliet (Lorna Courtney) wakes up and figures things out for herself. Why should she kill herself? And it was selfish of Romeo to kill himself and not wait for her. She intends to live her life. Thus, the merriment unfolds.

Besides Juliet, there are the three other principal protagonists: William Shakespeare (Stark Sands) and Anne Hathaway, not the actress but actually Shakespeare’s wife (Betsy Wolfe). They manipulate how the story should continue now that Juliet is alive. Anne looks at things from the feminist point of view and wants Juliet to experience all the alternatives at her disposal, while William wants to keep the traditional manner in which he conceived it. The third principal is Melanie La Barrie as the Nurse.

As the play progresses, different characters are introduced that alter Juliet’s life and if she should even remarry. Even Romeo (Ben Jackson Walker) is resurrected and makes another plea for Juliet’s hand in marriage. Decisions, decisions.

With further alterations by William and Anne, Juliet leaves Verona for Paris to flee her parents and encounters Francois (Philippe Arroyo), the dejected son of Lance (Paulo Szot), a man of high importance in the courts of Paris. Lance forces Francoise to make him proud by marrying Juliet. One problem, though: Francoise is gay and in love with May (Justin David Sullivan) who happens to be Juliet’s BFF. Lance in younger days had an affair with Juliet’s nurse. Messy. Messy. Not to worry; things do sort themselves out.

As I mentioned the premise is great, the score delightful, and the performances in some cases are good, except for the over hamming by most. Lorna Courtney delivers her songs “Oops!…I Did It Again” and “Roar” like a finalist on The Voice and not so much as the character, Juliet. Betsy Wolfe is a consummate Broadway pro and really gives Anne the boost for feminism that the character requires. She is in great voice and far superior to her British counterpart in the London version we saw this summer. Stark Sands as William is raffish enough, but lacks the spark and passion needed for William to be compelling.

The surprise of the evening is Paulo Szot, best known for his 2008 Tony-winning performance as Emile De Becque in South Pacific. He is a wonderful baritone who seems to be enjoying himself in the part of Lance singing and precision dancing as a boy band singer. He delivers a delightful performance.

This musical is further enhanced by its creative team. Set designer Soutra Gilmour has created original, unorthodox, seamless, cluttered but easy-on-the-eye sets. The costumes by Paloma Young are colorful. Lighting Designer Howard Hudson captures every mood, night or day. Choreographer, Jennifer Weber has injected so much energy and originality in her dances. Director Luke Sheppard keeps the merriment going and unfolding at every scene, but in his English version, the supporting cast was tighter and more focused than the freewheeling in this version.

The surprises keep coming, the fun rolls along, and remember in this version it is Juliet, not Romeo.

Edited by Scott Harrah
Published November 30, 2022
Reviewed at November 29, 2022  performance.

‘& JULIET’: Lorna Courtney & cast. Photo: Matthew Murphy.

‘& JULIET’: The cast. Photo: Matthew Murphy.

‘& JULIET’: (left to right) Lorna Courtney, Betsy Wolfe, Justin David Sullivan & Melanie La Barrie. Photo: Matthew Murphy.

‘& JULIET’: Stark Sands & Betsy Wolfe. Photo: Matthew Murphy.

‘& JULIET’: Ben Jackson Walker & cast. Photo: Matthew Murphy.

‘& JULIET’: Lorna Courtney & cast. Photo: Matthew Murphy.

‘& JULIET’: Melanie La Barrie & Lorna Courtney. Photo: Matthew Murphy.

‘& JULIET’: Paulo Szot & Phillipe Arroyo. Photo: Matthew Murphy.

‘& JULIET’: Philippe Arroyo & Justin David Sullivan. Photo: Matthew Murphy.

The post ‘& Juliet’: Pop musical look at life after Romeo appeared first on StageZine.

‘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

The post ‘Falsettos’: The original modern family musical appeared first on StageZine.