‘THE GREAT GATSBY’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

THE GREAT GATSBY
Based on the novel by F. Scott Fitzgerald
Book by Kait Kerrigan
Music by Jason Howland
Lyrics by Nathan Tysen
Directed by Marc Bruni
Broadway Theatre
1681 Broadway at 53rd Street
(212-239-6200), www.BroadwayGatsby.com

By David NouNou

Hallelujah! I can finally say that an extravagant, splashy, glitzy musical has landed at the Broadway Theatre by the name of The Great Gatsby.  The show surprisingly sticks to the facts and styling of the way F. Scott Fitzgerald wrote this timeless classic American tale from the late teens and 1920s Jazz Age.

Set in 1917 in both New York City and Long Island, there is the established old-money rich and the nouveau riche. Nick Carraway (Noah J. Ricketts) has just arrived from Minnesota and needs a place to stay, but Manhattan is expensive. He finds there is a little cottage to be rented out by Jay Gatsby (Jeremy Jordan). Gatsby would be new money and he has done everything in his power to reclaim his former love Daisy Buchanan (Eva Noblelzada), now married to Tom Buchanan (John Zdrojeski) who represents old money. Daisy’s father refused to let Daisy marry Jay because he was penniless. So, he went and fought in World War I. Although Tom is very abusive and has constant affairs, including the one with Myrtle Wilson (Sarah Chase)—the local floozy in Queens, who is married to gas-pump jockey George Wilson (Paul Whitty). He thought he was a better match for Daisy. In the mix is also Jordan Baker (Samantha Pauly) who befriends Nick.

Life on the outside is luscious parties galore, champagne is flowing and it was the Jazz Age. That party lasted the whole summer of 1917, when all things and disillusionments started setting in. All the rich people were really quite evil, life and death were meaningless and love was just bounced around as a plaything not to be taken seriously. Jay Gatsby was the best of the best of them and the ultimate loser. He even built that eternal “green light” for Daisy that only he could see from his balcony.

The book by Kait Kerrigan follows F. Scott Fitzgerald’s famous narrative almost perfectly. The score by Jason Howland and Nathan Tysen is melodic, grand and lush. Marc Bruni’s direction is a delight but some of the comedic segments could have been left out.

Which brings us to the two leads: Jeremy Jordan has never been in finer voice and his stage presence was never felt so profoundly. Eva Noblezada has outshined all her screen predecessors, portraying Daisy with the right mix of strength and vulnerability. They make a dynamic duo indeed.

What gives lushness to the proceedings is Paul Tate De Poo III’s scenic and projection designs. They transform you to other worlds, and Linda Cho’s costumes are innovative and a delight.

For a grand musical and a fun night at the theatre, The Great Gatsby is the ticket. It is a rare gem and one of the 2024 season’s best new musicals.

Edited by Scott Harrah
Published April 25, 2024
Reviewed at April 23, 2024 press preview performance

‘THE GREAT GATSBY’: Samantha Pauly (center) & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘THE GREAT GATSBY’: Eva Noblezada & Jeremy Jordan. Photo: Matthew Murphy & Evan Zimmerman.

‘THE GREAT GATSBY’: Jeremy Jordan & Eva Noblezada. Photo: Matthew Murphy & Evan Zimmerman.

‘THE GREAT GATSBY’: (left to right) Noah J. Ricketts, Sara Chase, & John Zdrojeski. Photo: Matthew Murphy & Evan Zimmerman.

‘THE GREAT GATSBY’: Paul Whitty. Photo: Matthew Murphy & Evan Zimmerman.

‘THE GREAT GATSBY’: Eva Noblezada. Photo: Matthew Murphy & Evan Zimmerman.

The post ‘The Great Gatsby’: Surprise gem of the year appeared first on StageZine.

‘HADESTOWN’: Reeve Carney & Eva Noblezada. Photo: Matthew Murphy

HADESTOWN
Book, music & lyrics by Anais Mitchell
Directed by George C. Wolfe
Choreographed by David Neumann
Walter Kerr Theatre
219 West 485th Street
212-239-6200, www.hadestown.com

By David NouNou

Although it has come late in the season, we have the winner for best musical. Hadestown is a towering theatrical journey to hell. It’s sort of a metaphor for the times in which we live.

Based on the Greek tragedy of Orpheus and Eurydice, and his journey to hell to rescue her back from the dead, this tale is set in New Orleans. Our Orpheus (Reeve Carney) is the sweetest and gentlest of souls who works in a café and Eurydice (Eva Noblezada) is a wandering waif who crosses Orpheus’ path and he falls madly in love with her. To narrate all that happens or will happen is Hermes (the remarkable Andre DeShields). He is like the emcee in Cabaret.

The rulers of Hadestown are Hades (Patrick Page) and Persephone (Amber Gray). Persephone comes up and joins the living every summer. She has a wild time entertaining all by wining and dining but has to return to Hades back in the winter. Eurydice being poor, cold and hungry goes down with Persephone on the false illusion that life will be better down there, only to find the grind and misery that prevails.

There are also the muses who butt into everyone’s lives and not for the good. It is up to Orpheus upon realizing the loss of Eurydice, on how he is going down to Hadestown and how he will rescue her from the grip of Hades.

What makes this journey bearable is the remarkable score by Anais Mitchell. It is jazz- infused, rhythmic, pulsating and palpable. From the opening song “Road to Hell” to the closing number in Act I, “Why We Build the Wall,” the music and lyrics are all arresting and haunting. “Why We Build the Wall” is a chilling reminder of where we’re at in 2019, but in actually it was written years before the ongoing nightmare we live with today. The score is phenomenal throughout till the end, the reprise of “Road to Hell.”

The cast is superb, headed by the indefatigable Andre DeShields, a theater legend. His Hermes is the velvet protector of the lost. Patrick Page is spine chilling as Hades, especially when it comes to singing “Why We Build the Wall.” Amber Gray’s Persephone is sheer delight and can lure anyone to go down to Hades with her. Eva Noblezada was enchanting in the 2017 revival of Miss Saigon, and she is in good voice here. Reeve Carney is guileless as Orpheus.

Director Rachel Chavkin has outdone herself here. Her Natasha, Pierre & The Great Comet of 1812 overloaded the senses to distraction, but here she has brilliantly modulated the proceedings and is greatly abetted by the overwhelming set by Rachel Hauck.

The nightmarish story is not necessarily uplifting, but the theatrical experience is priceless.

Edited by Scott Harrah
Published April 22, 2019
Reviewed at April 21, 2019 press performance.

‘HADESTOWN’: Amber Gray & cast. Photo: Matthew Murphy

‘HADESTOWN’: Eva Noblezada & cast. Photo: Matthew Murphy

‘HADESTOWN’: (left to right) Amber Gray, Patrick Page & Reeve Carney. Photo: Matthew Murphy

‘HADESTOWN’: Eva Noblezada & cast. Photo: Matthew Murphy

‘HADESTOWN’: Amber Gray & cast. Photo: Matthew Murphy

‘HADESTOWN’: Patrick Page & Amber Gray. Photo: Matthew Murphy

‘HADESTOWN’: Reeve Carney. Photo: Matthew Murphy

‘HADESTOWN’: (left to right) Jewelle Blackman, Kay Trinidad & Yvette Gonzalez-Nacer. Photo: Matthew Murphy

‘HADESTOWN’: Andre De Shields. Photo: Matthew Murphy.

‘HADESTOWN’: The cast. Photo: Matthew Murphy

The post ‘Hadestown’ is one hell of a great musical appeared first on StageZine.

‘MISS SAIGON’: Eva Noblezada & Devin Ilaw. Photo: Matthew Murphy

MISS SAIGON
Adapted from the original French text by Alain Boublil
Music by Claude-Michel Schönberg
Lyrics by Richard Maltby, Jr. & Alain Boublil
Directed by Laurence Conner
Musical Staging by Bob Avian
Broadway Theatre
1681 Broadway at 53rd Street
212-238-6200, wwwSaigonBroadway.com

By David NouNou

In the 1960s, America had the British rock invasion: The Beatles, The Rolling Stones, etc. In the 1980s and 1990s we had the Cameron Mackintosh invasion: Cats, Starlight Express, Les Misérables, Phantom of the Opera and Miss Saigon. Damn, that’s impressive, and Broadway deservedly welcomed him with open arms. He singlehandedly turned a dying Broadway into a booming, bustling Broadway with the aid of Andrew Lloyd Webber and Schönberg and Boublil.

That being said, I must now specifically concentrate on Miss Saigon. In 1991 it came to Broadway with the largest advance in history to date, the tale that a helicopter lands on stage (Americans love special effects) and a lot of controversy regarding casting. I salute Mr. Mackintosh in his stand to bring Jonathan Pryce and Lea Salonga in their roles that they originated in London, for which they ultimately won Tony Awards for best actor and actress, because without them the show would not have been as powerful and impactful.

Fast forward to 2017: Seeing Miss Saigon again might seem awesome at first thought but sadly for me (and I’m sure for most Americans who see it), it’s a shameful reminder of our past history and the atrocities that took place during the Vietnam War. Unlike the epic grandeur of Les Misérables with its glorious and memorable score and beautifully etched-out characters, Miss Saigon is epic visually but very thin on story line. It is basically Madame Butterfly set during the Vietnam War.

Chris (Alistair Brammer), an American G.I. stationed in Vietnam, falls in love with the 17-year- old Vietnamese bar girl, Kim (Eva Noblezada) who is under the thumbs and controlled by the Engineer (Jon Jon Briones), a man who has big dreams of coming to the USA and using his entrepreneurial skills to make it big in America. You know the rest.

The score by Boublil and Schönberg never lives up to the magnificence of Les Misérables. With the exception of “The Last Night of the World” a sweet ballad sung by Kim and Chris, the haunting “I’d Give My Life For You,” sung by Kim, and the Engineer’s rousing delusional tribute “The American Dream,” the rest of the score is undistinguished. The sensation of the show back then was the helicopter scene; now the best thing about that is the landing in which wind machines blast air onto the orchestra to simulate a helicopter landing with lots of people clamoring to get on and the taking off is like watching the headlights and front of a Volkswagen Beetle ascending.

For Mr. Mackintosh, casting is most essential. He brought Mr. Pryce as the Engineer, a role that is sinister, evil, calculating and a lowlife. He’d do anything and sacrifice anyone just to save his hide. Mr. Pryce played that part to perfection, and at the end you were cheering for him. As for Jon Jon Briones as the Engineer, I honestly have no idea what he is conveying. The closet character I could think of was a sleazy version of the parrot, Jose Carioca, in the 1943 Disney animated movie Saludos Amigos; totally lacking in personality, charisma and style, nothing that would suggest sinister, just plain smarmy and weasely.

Ms. Noblezada is enchanting as Kim, but Mr. Brammer lacks the passion that tortures Chris for having left Kim behind. Honorable mention must be made to Katie Rose Clark as Ellen, Chris’ wife, and Nicholas Christopher as John, Chris’ war buddy and friend. Another standout is Rachelle Ann Go as the prostitute Gigi, with her lush, haunting voice.

From a visual standpoint, this version of Miss Saigon is grimy and gritty.  Its direction by Laurence Connor is listless and aimless, no real vision or structure to it. It is so dimly lit that it is hard to distinguish if there ever was any daylight in Saigon. I saw this production in London in 2015 at the Prince Edward Theatre and there were talks back then that Miss Saigon would be transferring to Broadway. I knew that to make this move, better choices had to be made in direction and casting, especially for the Engineer.  The Engineer has to be able to hold up this giant behemoth of a musical. It wasn’t Mr. Briones then in the U.K. production and time has not improved him. Smarmy and pandering to the audience is not a real interpretation for the Engineer. Certainly better, tighter and more disciplined direction is needed than what Mr. Connor has provided.

It is not impossible to sell a historical musical that once lived for the helicopter gimmick; however, it is harder to sell when you have a musical with unfamiliar names, especially this season when there are stars in many of the shows currently playing. You can still sell a historical musical with no names if it is brilliantly conceived, directed and acted. Case in point: Come From Away—highly recommended.

Edited by Scott Harrah
Published March 29, 2017
Reviewed at press performance on March 28, 2017

‘MISS SAIGON’: Jon Jon Briones. Photo: Matthew Murphy

‘MISS SAIGON’: Katie Rose Clarke & Alistair Brammer. Photo: Matthew Murphy

‘MISS SAIGON’: Rachelle Ann Go. Photo: Matthew Murphy

‘MISS SAIGON’: Alistair Brammer & Eva Noblezada. Photo: Matthew Murphy

‘MISS SAIGON’: Jon Jon Briones & cast. Photo: Matthew Murphy

‘MISS SAIGON’: Eva Noblezada. Photo: Matthew Murphy

‘MISS SAIGON’: Devin Ilaw. Photo: Matthew Murphy

‘MISS SAIGON’: Jon Jon Briones. Photo: Matthew Murphy

‘MISS SAIGON’: Eva Noblezada. Photo: Matthew Murphy

‘MISS SAIGON’: Jon Jon Briones. Photo: Matthew Murphy

‘MISS SAIGON’: Nicholas Christopher. Photo: Matthew Murphy

‘MISS SAIGON’: Alistair Brammer. Photo: Joan Marcus

‘MISS SAIGON’: Alistair Brammer & Eva Noblezada. Photo: Matthew Murphy

‘MISS SAIGON’: Eva Noblezada & Samuel Li Weintraub. Photo: Matthew Murphy

‘MISS SAIGON’: Jon Jon Briones & cast. Photo: Matthew Murphy

The post ‘Miss Saigon’ returns to Broadway via London appeared first on StageZine.

EPIC REVIVAL IN LONDON: Eva Noblezada & Kwang Ho Hong. Photo: Matthew Murphy

MISS SAIGON
Adapted from the original French text by Alain Boublil
Music by Claude-Michel Schonberg
Lyrics by Richard Maltby, Jr. & Alain Boublil
Directed by Laurence Conner
Musical Staging by Bob Avian
Prince Edward Theatre
Old Compton Street
London, United Kingdom
(0844 482 5155), www.miss-saigon.com

By David NouNou

In the 1960s, America had the British rock invasion: The Beatles, The Rolling Stones, etc. In the 1980s and 1990s, we had The Cameron Mackintosh invasion: Cats, Starlight Express, Les Miserables, Phantom of the Opera and Miss Saigon. Damn, that’s impressive, and Broadway deservedly welcomed him with open arms. He single-handedly turned a dying Broadway into a booming, bustling Broadway with the aid of Andrew Lloyd Webber and Schonberg and Boublil.

That being said, I must now specifically concentrate on Miss Saigon. In 1990, it came to Broadway with the largest advance in history to date, the tale that a helicopter lands on the stage (Americans love special effects) and a lot of controversy regarding casting. I salute Mr. Mackintosh in his stand to bring Jonathan Pryce and Lea Salonga in their roles that they originated in London, for which they ultimately won Tony Awards for best actor and actress, because without them the show would not have been as powerful and interesting.

Fast forward to 2015. Seeing Miss Saigon at the gorgeous Prince Edward Theatre in London seems awesome at first thought, but sadly for me and I’m sure for most Americans who see it, it’s a shameful reminder of our past history and the atrocities that took place during the Vietnam War. Unlike the epic grandeur of Les Miserables ,with its glorious and memorable score and beautifully etched-out characters, Miss Saigon is epic visually but very thin in storyline. It is basically Madame Butterfly set during the Vietnam War.

Chris (Chris Peluso), an American G.I. stationed in Vietnam, falls in love with the Vietnamese bar girl Kim (Eva Nolezada), who is under the thumbs and controlled by the Engineer (Jon Jon Briones), a man with dreams of coming to America and using his entrepreneurial skills to make it big in the USA. You know the rest.

The score by Schonberg and Boublil never lives up to the magnificence of Les Miserables. With the exception of “The Last Night of the World,” a sweet ballad sung by Kim and Chris, the haunting “I’d Give My Life For You” sung by Kim and the Engineer’s rousing delusional tribute “The American Dream,” the rest of the score is undistinguished. And the whole scene with the helicopter landing in Act II is now almost laughable. A cheesy projection of a helicopter landing at the U.S. embassy morphs into what appears to be the body of a helicopter, with spinning ropes as propellers and lots of audio or noise, lot of hysteria, few people get on, and off it goes into projection land.

For Mr. Mackintosh, casting is most essential. He brought Mr. Pryce as the Engineer, a role that is sinister, evil, calculating and a lowlife. He’d do anything and sacrifice anyone just to save his hide. Mr. Pryce played that part to perfection, and at the end you are cheering for him. As for Jon Jon Briones as the Engineer, I honestly had no idea what he was conveying. The closet character I could think of was a sleazy version of the parrot, Jose Carioca, in the 1943 Disney animated movie Saludos Amigos; totally lacking in personality, charisma and style, nothing that would suggest sinister, just plain smarmy.

Ms. Nolezada is enchanting as Kim, and Mr. Peluso as Chris, possesses a powerful voice and both fit their characters perfectly. Honorable mention must be made to Siobhan Dillon as Ellen, Chris’ wife, and Hugh Maynard as Jake, Chris’ war buddy.

From a visual standpoint, this version of Miss Saigon is arresting, and the score and many of the performances pack a strong emotional punch. If it plans to come to America (and rumors say it will), some stronger choices have to be made: An Engineer that can hold up this giant behemoth, tighter and more disciplined direction, and a more authentic, realistic idea for the helicopter scene.

LOVE IN WAR-TORN VIETNAM: Eva Noblezada & Alistair Brammer. Photo: Michael Le Poer Trench

A G.I. IN ‘SAIGON’: Alistair Brammer. Photo: Michael Le Poer Trench

GIGI IN ‘MISS SAIGON’: Natalie Mendoza. Photo: Michael Le Poer Trench

THE ENGINEER: Jon Jon Briones. Photo: Michael Le Poer Trench

Edited by Scott Harrah
Published June 29, 2015
Reviewed at June 16, 2015 performance in London

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