‘LEOPOLDSTADT’: The company. Photo: Joan Marcus.

LEOPOLDSTADT
Written by Tom Stoppard
Directed by Patrick Marber
Longacre Theatre
220 West 48th Street
New York, NY
(212-239-6200), www.Leopoldstadtplay.com

By David NouNou

Leopoldstadt is an epic generational saga. It’s a semi-autobiographical play tracing playwright Tom Stoppard’s family tree. Not to sound pretentious, but honestly speaking, almost any Stoppard play is a Broadway theatrical event. Some of them are verbose, from Arcadia to Coast of Utopia. It is great to see that this time he has tapped into something that is very personal to him. Is it perfect? No. Is it too talky? At times. Does it feel real? Always.

It is Christmas Eve in 1899 Vienna in the Jewish quarter on Leopoldstadt, where an extended upper-class Jewish family is celebrating Christmas and lighting a Christmas tree. This particular family has some members that have branched out into marrying outside the faith and assimilating to the values in Vienna at that time. The household is headed by Grandma Emilia (Betsy Aidem), still a Jew, her son Hermann (David Krumholtz), distancing himself from Judaism and marrying a Christian, Gretl (Faye Castelow), Emilia’s daughter, Eva (Caissie Levy) married to Ludwig (Brandon Uranowitz) both still Jewish. The extended family being Ludwig’s brother and sister. All Jews with the exception of Hermann and Gretl, but they dominate the force in the family. The long-winded concept here is whether remaining a Jew and boasting of the heritage that has given Vienna its artists, thinkers, doctors and luminaries or changing your religious beliefs and enjoy the freedoms afforded one by being a non-Jew.

In 1900, Gretl is having an affair with a Viennese dragoon, Fritz (Arty Froushan) just to get a feel of what it’s like being with a Christian again and to make the viewer wonder if the family tree was extended even further.

Soon it is 1924. The next generation is in the forefront, headed by Hermann and Gretl’s son, Jacob (Seth Numrich) who is really more secular and disillusioned by life and things aren’t as flourishing as they were earlier. Things are beginning to get tougher for the Jews like Hermann and Ludwig and their extended families. Austria is turning its back on the Jews.

The story moves forward to 1938. Kristallnacht has the grandchildren witnessing their parents and grandparents being turned in by their fellow Austrians and neighbors to be persecuted, attacked, arrested, having their home and properties seized, separated from each other and sent to concentration camps.

In 1955, back in the same living room in Vienna, Nathan, great-grandnephew of Ludwig and Eva (Brandon Uranowitz), has returned to gather the family album and recall his ancestors to Leo (Arty Froushan), an Englishman, who in fact is the grandson of Ludwig and Eva but was transported to England in 1938 as a child by his parents and doesn’t recall his Jewish background. Leo never knew anything about Judaism, his family tree or that Nathan in fact is his cousin. Nathan is aided by his aunt Rosa (Jenna Augen) to recall the family tree, and it is she that announces the outcome of each member in the family tree.

The play overall is beautifully structured but it is the last scene, in 1955, stripped of any verboseness, that just sticks to the basics. Be prepared to get out the handkerchiefs. One can’t help but compare this to the brilliant generational epic The Lehman Trilogy where three stars played over a hundred roles and each was clearly defined. In Leopoldstadt, there are so many extended family members that it is hard to conceptualize who begat whom and to put them in order in each of the scenes. Before each scene, a scrim is revealed to show the family tree and the begats, but by the time you put the jigsaw together, the scrim is gone and you start all over again.

This is an epic ensemble acting company consisting of original British actors from the West End intermingled with American actors. For the most part, the acting is good but can hit on stereotypes.  However, three-time Tony nominee, Brandon Uranowitz—who is equally adept at musicals, comedy or drama—is the star of the piece and has finally landed a star-making role. His dual roles as Ludwig and Nathan are separate characters that are both intriguing and heartbreaking, and the life he breathes into each of them is brilliant.

Patrick Marber, a wonderful British director and screenwriter, has the difficult, formidable task of navigating a huge cast that includes many children, different generations, and trying to give cohesion to an epic generational saga. His insights and Mr. Stoppard’s words give great depth to the proceedings and makes it a memorable theatrical experience.

Edited by Scott Harrah
Published October 8, 2022
Reviewed at October 7, 2022 press performance.

‘LEOPOLDSTADT’: Joshua Satine. Photo: Joan Marcus.

‘LEOPOLDSTADT’: Brandon Uranowitz, Aaron Shuf & David Krumholtz. Photo: Joan Marcus.

‘LEOPOLDSTADT’: Faye Castelow & David Krumholtz. Photo: Joan Marcus.

‘LEOPOLDSTADT’: The company. Photo: Joan Marcus.

‘LEOPOLDSTADT’: The company. Photo: Joan Marcus.

‘LEOPOLDSTADT’: Japhet Balaban & Eden Epstein. Photo: Joan Marcus.

‘LEOPOLDSTADT’: Tedra Millan & Seth Numrich. Photo: Joan Marcus.

‘LEOPOLDSTADT’: Reese Bogin, Sara Topham & Ava Michele Hyl. Photo: Joan Marcus

‘LEOPOLDSTADT’: Brandon Uranowitz & Arty Froushan. Photo: Joan Marcus.

‘LEOPOLDSTADT’: Jenna Augen & Aaron Neil. Photo: Joan Marcus.

‘LEOPOLDSTADT’: The cast. Photo: Joan Marcus.

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‘BURN/THIS’: Adam Driver & Keri Russell. Photo: Matthew Murphy

BURN/THIS
Written by Lanford Wilson
Directed by Michael Mayer
Through July 14, 2019
Hudson Theatre
141 West 44th Street
(855-801-5876), www.BurnThisPlay.com

By David NouNou

Death, mourning, guilt and grief make strange bedfellows in Burn/This.

Anna (Keri Russell) a dancer who recently became a choreographer, has just returned from her gay choreographer roommate Robby’s funeral where his family had no idea of what he did as a profession, who he was as a person, or that he was gay and had a lover. The general belief of the mourners is that Anna was his girlfriend. All they knew was from the news media that he was in a boating accident with his partner but didn’t want to know the details. Burton (David Furr) arrives from Canada to comfort the grieving Anna and offer solace. Burton is a well-to-do author and is serious about her. In comes her other gay roommate, Larry (Brandon Uranowitz), an adman that delivers everything with a biting sting, and they are all commiserating over the death of their friend and roommate, Robby.

Anna wants to be alone to pull her thoughts together, Burton leaves and Larry goes to his room. Like a bolt of lightning, Pale/Jimmy (Adam Driver) smashes drunkenly into the scene, in this case this vast downtown loft. He stumbles in with a barrage of incoherent cursing. Known as Pale professionally, “Jimmy” to friends, he is the brother of the deceased Robby. He is a month late in coming to pick up Robby’s belongings. Through his mumblings we ultimately learn of the guilt he feels for not knowing anything about his brother and abandoning him. Grief and guilt bring these two together. Anna finds out in the morning as he leaves that Jimmy is married and has two children.

Act II begins with Anna and Burton returning from a New Year’s Eve party. Burton is writing a new book, Anna is trying to choreograph a piece to dedicate to Robby, and Larry returns from Detroit after spending time with his family. This happy trio’s celebration is interrupted by Jimmy crashing in again and getting into a fight with Burton. Anna throws Burton out and Jimmy passes out momentarily. Thus starts the complications of their life.

The story is paper thin. How do these two mismatched people get to come together when the forces act against them? The late Lanford Wilson sets up the premise but for feasibility you have to stretch the imagination. I was not a fan of the 1987 Broadway production, featuring a psychotic John Malkovich and a more relatable Joan Allen as Anna, but in the original production there was a raw chemistry between Anna and Pale/Jimmy. Unfortunately, no such chemistry exists here. Keri Russell is gorgeous but lacks the theatrical presence of a frustrated choreographer. On the other hand, Adam Driver is hypnotic and galvanizing as Pale/Jimmy. So magnetic is his performance that when he leaves the stage, his presence can still be felt. It is unfortunate that it boils down to “The Beauty and the Beast.”’

There are two other interesting performances: One from David Furr as the losing suitor; he embodies strength, character and a sense of humor. The other is from Brandon Uranowitz, who supplies all the acidic humor with gusto and panache.

Director Michael Mayer has opted to infuse a comedic spin to the proceedings, and it is fine in some places, but it dilutes the more profound moments. There is enough solid acting and substance here to make this revival of Burn/This worth seeing, but the real burning comes from Adam Driver. He makes the stage come alive.

Edited by Scott Harrah
Published April 19, 2019
Reviewed at April 18, 2019 press performance.

‘BURN/THIS’: (left to right) David Furr, Keri Russell & Brandon Uranowitz. Photo: Matthew Murphy

‘BURN/THIS’: Adam Driver. Photo: Matthew Murphy.

‘BURN/THIS’: Keri Russell. Photo: Matthew Murphy

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‘PRINCE OF BROADWAY’: Emily Skinner in a scene from ‘Follies.’ Photo: Matthew Murphy

PRINCE OF BROADWAY
Written by David Thompson
New Songs, Arrangements, Orchestration & Music Supervision by Robert Jason Brown
Co-Directed & Choreographed by Susan Stroman
Directed by Hal Prince
Samuel J. Friedman Theatre
261 West 47th Street
(212) 239-6200, www.ManhattanTheatreClub.com

By David NouNou

Any theatergoer knows that Harold S. Prince is a world-renowned producer/director and has had his hand in theatrical productions for almost 65 years. He has worked with the greatest of creative talents from Stephen Sondheim, Leonard Bernstein, Kander & Ebb to Andrew Lloyd Webber; from Jerome Robbins, Bob Fosse to Susan Stroman, and the actors he’s brought to the stage are endless: Gwen Verdon, Chita Rivera, Angela Lansbury, Patti LuPone, Liza Minnelli, Barbara Cook, Elaine Stritch, Zero Mostel, Joel Grey, Mandy Patinkin, Michael Crawford, and on and on.

However, trying to musicalize a producer/director’s career is much more difficult to present on stage than, let’s say, the musicals Jerome Robbins’ Broadway, based on recreating Jerome Robbins’ choreography from On The Town, West Side Story and Fiddler on the Roof or Fosse, based on Bob Fosse’s choreography for Damn Yankees, Sweet Charity and Pippin. Those are tangible works of artists recreating their creations. Dances are intrinsically more satisfying than actors trotting on stage, singing songs from a particular producer’s shows.

The nine actors consisting of Chuck Cooper, Janet Dacal, Bryonha Marie Parham, Emily Skinner, Brandon Uranowitz, Kaley Ann Voorhees, Michael Xavier, Tony Yasbeck and Karen Ziemba succeed to various degrees. They all come out on stage as Hal Prince at various times, with his signature glasses on their forehead, narrating his career. Honestly, I would have preferred having Mr. Prince narrate his own life, introducing his own productions at various stages in his career projected on a screen. This would have been more productive; it would have given us an introduction to the man himself, been less lame and more effective.

The major problem here is how do you connect all these phenomenal shows? Damn Yankees, West Side Story, Fiddler On the Roof, Cabaret, Company, Follies, A Little Night Music, Sweeney Todd, Evita, The Phantom of the Opera as well as A Family Affair, Flora the Red Menace, A Doll’s Life, Zorba, Roza, Merrily We Roll Along (mostly hits and a fair number of flops)? It’s very difficult to chose the songs and scenes from all these shows to fit cohesively in an entertaining manner. Some are extremely entertaining standing alone, as the scenes from West Side Story, Cabaret and Company. Some are visually entertaining like Follies and Phantom of the Opera, The songs from She Loves Me, It’s a Bird, It’s A Plane, It’s Superman, Parade, Kiss of the Spider Woman and Sweeney Todd, although good, make no sense. What helps make the scenes work better is mostly due to set designer Beowulf Boritt, costume designer William Ivey Long, and lighting designer Howell Binkley. They try to capture the essences of the original productions and that helps the visualization process immensely. They attempt to recapture that particular moment of each show and it does envelop us for the most part.

Two standout performers for me were Tony Yazbeck for his great phraseology of the songs from West Side Story and “The Right Girl” from Follies. His tap dancing in that song is phenomenal. The other standout is Chuck Cooper. His rendition of “If I Were a Rich Man” from Fiddler is better than what I’ve seen in recent years. He also does a superb “Ol’ Man River” from Showboat. Both these men get better and better with each successive show.

It’s great to see Brandon Uranowitz’s career blossoming. His “Willkommen” from Cabaret was chilling, and teaming up with the wonderful Karen Ziemba in “If You Could See Her ” and her solo “So What” is memorable. A treat to see Emily Skinner back on Broadway doing “Ladies Who Lunch” from Company and “Send in the Clowns” from A Little Night Music.

All in all, it is an entertaining, if not wholly satisfying or fulfilling evening. If you were fortunate enough to have seen some of the original versions, most of the scenes will evoke a fond memory or at least give you a taste of the past experience.

Edited by Scott Harrah
Published August 27, 2017
Reviewed at August 26, 2017 press performance.

‘PRINCE OF BROADWAY’: Michael Xavier & cast perform a number from ‘Company.’ Photo: Matthew Murphy

‘PRINCE OF BROADWAY’: Brandon Uranowitz sings a song from ‘Cabaret.’ Photo: Matthew Murphy

‘PRINCE OF BROADWAY’: Janet Dacal in ‘Evita’ scene. Photo: Matthew Murphy

‘PRINCE OF BROADWAY’: Bryonha Marie Parham & Kaley Ann Voorhees sing a classic from ‘Showboat.’ Photo: Matthew Murphy

‘PRINCE OF BROADWAY’: Tony Yazbeck performs a number from ‘Follies.’ Photo: Matthew Murphy

‘PRINCE OF BROADWAY’: Tony Yazbeck & Kaley Ann Voorhees perform a scene from ‘West Side Story.’ Photo: Matthew Murphy

‘PRINCE OF BROADWAY’: Chuck Cooper performs a classic song from ‘Fiddler on the Roof.’ Photo: Matthew Murphy

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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

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

POSTWAR PARIS, WITH SUBLIME GERSHWIN SCORE: ‘An American in Paris’ is one of the season’s best musicals. Photo: Matthew Murphy

AN AMERICAN IN PARIS
Book by Craig Lucas
Music & lyrics by George Gershwin & Ira Gershwin
Directed & choreographed by Christopher Wheeldon
Palace Theatre
1564 Broadway at 47th Street
(877) 250-2929
http://www.AnAmericaninParisBroadway.com

By David NouNou

When West Side Story opened, one was witness to the dawn of a new form of musical. Yes, it was the story of a boy meets girl, but it was interpreted through a masterful score and propelled by the pulsating movement of Jerome Robbins’ dance. And so it is with An American in Paris; the fusion of the Broadway musical and ballet, set to the sublime music and lyrics of the Gershwin Brothers’ songbook, is an evening of pure enchantment. Forget what you know about the movie, because Christopher Wheeldon, the director and choreographer, has truly reinvented a new, old-fashioned-style musical. He has blended conventional choreography with ballet and come up with the fluidity of dance. Sure, ballet was used in other musicals like Oklahoma and Carousel, but only in small doses. Here it is this fluidity of dance that propels the story forward.

Still set in Paris, the time now is 1945 and the end of the Second World War. Jubilation is slowly coming back to the streets of Paris and Jerry Mulligan (Robert Fairchild), an aspiring artist, decides to remain in Paris and is befriended by Adam Hochberg (Brandon Uranowitz), an aspiring composer (the Oscar Levant role in the movie), and Henri Baurel (Max von Essen), a wannabe singer, and all three are in love with Lise Dassin (Leanne Cope). This is the framework of this musical; to tell you more would spoil the joys that await you. The one drawback of the musical is the book by Craig Lucas, and the forced obligatory humor that has to be injected into a serious musical at various interludes, when dancing stops and speaking begins.

There are a myriad of pleasures that await the viewer. I will start with the most obvious: the Gershwin songbook. Here is a feast to gorge on, thanks to Rob Fisher, who arranged and supervised the musical score. The visuals are a ballet unto themselves. The sets by Bob Crowley and the projection design by 59 Productions, melding into each other with the enchanting lighting by Natasha Katz, are absolutely breathtaking

Robert Fairchild, a principal dancer with the NYC Ballet and making his Broadway debut, almost makes you forget Gene Kelly and totally owns the part of Jerry Mulligan, the artist/American in Paris. His dancing set to Gershwin melodies is magical and uplifting. His body just floats through the air. Leanne Cope, in the Leslie Caron role as Lise, is charming but her part is less demanding and comes to life in the finale.

Now for the comedic roles: Max von Essen finally has broken through to finally claim major recognition. As Henri Baurel, the Frenchman, replete with a French accent and for comic relief destroying American idioms, is also infatuated with Lise. He manages a show-stopping number with “I’ll Build A Stairway To Paradise”…ohhh-la-la. In the Oscar Levant role, now a composer/voice of reason and narrator with comic relief, is Brandon Uranowitz as Adam Hochberg, a man who gets his inspiration to compose through his love for Lise.

I would strongly urge and advise people who are not into ballet or have a fear of sitting through it to dismiss those old phobias, and just go appreciate a “ ‘S Wonderful” score and the magic of this new form of dance on Broadway.

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MAKING ONSTAGE MAGIC: Leanne Copy & Robert Fairchild in ‘An American in Paris.’ Photo: Angela Sterling

FUSION OF THE BROADWAY MUSICAL & BALLET: The company of ‘An American in Paris.’ Photo: Matthew Murphy.

‘AMERICAN IN PARIS’ IS A TRIUMPH: Robert Fairchild. Photo: Angela Sterling

A VISUAL FEAST: Another great production number in ‘An American in Paris.’ Photo: Matthew Murphy

CUTTING-EDGE CHOREOGRAPHY: (left to right) Robert Fairchild, Brandon Uranowitz, Max von Essen & the company of ‘An American in Paris.’ Photo: Matthew Murphy

JERRY MULLIGAN & LISE DASSIN: Robert Fairchild & Leanne Cope. Photo: Matthew Murphy

Edited by Scott Harrah
Published April 17, 2015
Reviewed at press performance on April 16, 2015

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