‘A CHRISTMAS CAROL’: Campbell Scott. Photo: Joan Marcus

A CHRISTMAS CAROL
By Charles Dickens
Adapted by Jack Thorne
Directed by Matthew Warchus
Through January 5, 2020
Lyceum Theatre
149 West 45th Street
(212-239-6200), www.AChristmasCarolBroadway.com

By David NouNou

Stripped of the treacle and mawkishness usually associated with Charles Dickens’ A Christmas Carol, Jack Thorne has adapted and reshaped this tale into what would now be termed an “alternate universe.” Although being a purist at heart, one who normally prefers traditional presentations, I was nonetheless fascinated and enchanted by how this story maintains most of the central characters, with slight tweaks and character modifications. Mr. Thorne’s adaptation has slightly changed the dynamics and perception of an oft-told tale, with all the fat trimmed off.

Thanks in large part to Matthew Warchus’ seamless and fast-paced direction; one doesn’t dwell on the traditional version because Jack Thorne and Mr. Warchus allow the viewer to see Dickens’ classic from a different lens. Ebenezer Scrooge (Campbell Scott) is still a miserly crotchety skinflint but due to Mr. Scott’s youthful appearance, Ebenezer now has some sex appeal. Here, Mr. Thorne inserts Ebenezer’s cruel and drunken father (Chris Hoch), to show how Ebenezer took the wrong fork in the road to become what he is today.

Scrooge here does have psychological problems and doesn’t really see the error of his ways. Scrooge is still visited by the ghost of Marley (Chris Hoch), his late lending partner. Marley warns him about the ghosts that will come to visit him after midnight, and he better change his miserly ways. The Ghost of Christmas Past (Andrea Martin), Ghost of Christmas Present, replete with a Caribbean accent (La Chanze) and Ghost of Christmas Future (Rachel Prather) all make appearances. Ms. Prather doubles as well his late sister Fan in a dual role. His change here isn’t so much out of moral obligation as it is expeditious.

The two standout performances are, of course, Andrea Martin, a delight as usual, and La Chanze is imposing; the Caribbean accent is a bonus in all-too-brief moments. What is lacking is a dynamic Scrooge. It is interesting to note here that Mr. Scott’s father was the late George C. Scott, a formidable actor who gave a brilliant TV rendition of Scrooge. Campbell Scott, although a fine actor, lacks the forcefulness that his father brought to the role.

All in all, if you are looking for a slightly reimagined A Christmas Carol, along with Christmas carols, including “Joy to the World”, Silent Night, and “It Came Upon the Midnight Clear” and a surprising immersive, interactive Christmas experience, I highly recommend this version. Coming out of the show, one feels the Christmas season has officially begun.

Edited by Scott Harrah
Published November 24, 2019
Reviewed at November 23, 2019 press performance.

‘A CHRISTMAS CAROL’ (left to right) Andrea Martin, LaChanze, Campbell Scott (center) & Rachel Prather. Photo: Joan Marcus

‘A CHRISTMAS CAROL’: Campbell Scott & Dashiell Eaves. Photo: Joan Marcus

‘A CHRISTMAS CAROL’: Andrea Martin. Photo: Joan Marcus

‘A CHRISTMAS CAROL’: Campbell Scott & LaChanze. Photo: Joan Marcus.

‘A CHRISTMAS CAROL’: Sarah Hunt & Campbell Scott. Photo: Joan Marcus.

‘A CHRISTMAS CAROL’: Chris Hoch & Campbell Scott. Photo: Joan Marcus

‘A CHRISTMAS CAROL’: Campbell Scott. Photo: Joan Marcus.

‘A CHRISTMAS CAROL’: Campbell Scott. Photo: Joan Marcus.

‘A CHRISTMAS CAROL’: The cast. Photo: Joan Marcus

The post ‘A Christmas Carol’: Dickensian with a twist appeared first on StageZine.

‘KING KONG’: King Kong & Christiani Pitts. Photo: Joan Marcus

KING KONG
Written by Jack Thorne
Score comped & produced by Marius de Vries
Songs by Eddie Perfect
Directed & choreographed by Drew McOnie
Broadway Theatre
1681 Broadway at 53rd Street
(212-239-6200), https://kingkongbroadway.com/

By David NouNou

Can’t act, can’t sing, and can’t dance—and this statement applies to the live people and not the animatronic gorilla on stage. Not because they don’t have the capabilities; they just don’t have the material.

Throughout the evening while watching this $35 million “disastravaganza” import from Australia, one keeps wondering if this was an intentional musical or something concocted as an Australian version of Max Bialystock and Leo Bloom (lead producers of Mel Brooks’ The Producers) to create one of the worst musicals ever conceived and bilk old lady investors of millions of dollars?

Anyone who has seen the original 1933 movie with Fay Wray, the 1976 version with Jessica Lange or the 2005 Peter Jackson version with Naomi Watts or even last year’s Kong: Skull Island would have the intelligence to know there is no way to adapt this genre into a musical format for the stage. Not even if you were on the most powerful hallucinogenic drug conceived “ever” can one visualize this even as a camp piece.

In a nutshell, this version has a poor girl from the South, Ann Darrow (Christiani Pitts), coming to Broadway to become a star in 1931. All reject her. One starving, cold night in a hash house, smarmy film director Carl Denham (Eric William Morris) “discovers” her. He convinces her to sign up with him and he’ll make her a star. And off they go by steamship to Skull Island and you know the rest.

What you don’t know is all the hubris that went into this musical. The book is hackneyed, the score is bland and unmemorable, the acting—let’s just skip that one—the choreography is 2018 supposedly set in 1931 and in every scene, it is basically the same steps in different tempo. However, the worst crime is yet to come. Act II has the gang back in New York along with Kong and the director, Carl Denham recreates their entire journey as a musical set to the stage. Even Max Bialystock and Leo Bloom couldn’t have created such a mess as hard as they would have tried. Where is “Springtime for Hitler and Germany” when you need it?

I give the show one star not because anything in it merited that high a score but for those soulful eyes of Kong himself. He is amazingly constructed and the best thing about the show, and he understands his part and displays more heart, soul and character than anyone else on that stage. He has suffered enough; this show is his ultimate humiliation.

Edited by Scott Harrah
Published November 14, 2018
Reviewed at November 13, 2018 press performance.

‘KING KONG’: King Kong terrorizing the stage. Photo: Joan Marcus

‘KING KONG’: The beast. Photo: Matthew Murphy

‘KING KONG’: Christiani Pitts (center) & company. Photo: Matthew Murphy

‘KING KONG”: Christiani Pitts & Kong. Photo: Matthew Murphy

‘KING KONG’: Christiani Pitts & Eric William Morris. Photo: Joan Marcus

‘KING KONG’: Christiani Pitts with Kong. Photo: Joan Marcus

‘KING KONG’: Christiani Pitts & Kong. Photo: Joan Marcus

‘KING KONG’: Christiani Pitts. Photo: Matthew Murphy

‘KING KONG’: Eric William Morris. Photo: Joan Marcus

‘KING KONG’: Christiani Pitts & Erik Lochtefeld. Photo: Matthew Murphy

‘KING KONG’: The company. Photo: Matthew Murphy

‘KING KONG’: Christiani Pitts & Kong. Photo: Joan Marcus

The post ‘King Kong’: Stage adaptation goes ape appeared first on StageZine.

‘HARRY POTTER AND THE CURSED CHILD’: Poppy Miller & Jamie Parker. Photo: Manuel Harlan

HARRY POTTER AND THE CURSED CHILD
A new play by Jack Thorne
Based on an original story by J.K. Rowling, Jack Thorne & John Tiffany
Directed by John Tiffany
Lyric Theatre
214 West 43rd Street
877-250-2929, https://www.harrypottertheplay.com/

Editor’s Note: The following review is of the original two-part show.  The show was condensed into one show in fall 2021.

By Scott Harrah

Harry Potter and the Cursed Child: Parts One and Two is a Broadway blockbuster of a different type. It is groundbreaking like Hamilton and Book of Mormon, but as a play, not a musical, and an epic two-part show like Angels in America. It will always be known as the theatrical masterpiece that redefined how high-tech special effects should be done for the stage, but it is not merely a tour de force because of a bag of Broadway magic tricks. This is a classic saga of parents and children and the things in life threatening to tear them apart.

The show’s total price tag is a reported $68 million, and one knows no expense was spared from the moment upon arriving at the Lyric Theatre, which has been totally renovated to evoke the Harry Potter experience along with the grandeur of venerable British theaters in London.

Playwright Jack Thorne, director John Tiffany and creative genius J.K. Rowling have beautifully pulled off what might seem like an impossible task. They have taken beloved characters from Ms. Rowling’s popular franchise of books and films and created a stage book that is accessible to everyone, including “Muggles” (like this reviewer) who have never read the books or seen the Hollywood movie adaptations.

One doesn’t need to know anything about Ms. Rowling’s world of wizards and magic to appreciate, savor and enjoy nearly six hours of superlative acting, innovative special effects that never fail to amaze while propelling the story forward, and this touching tale of Harry Potter (Jamie Parker) as a 37-year-old father to Albus (Sam Clemmett). The saga is less about Harry Potter and more about the expectations and problems his son encounters as well as their complicated relationship.

Harry Potter, now nearing middle age, is married to wife Ginny (Poppy Miller) and working for the Ministry of Magic with old friend Hermione Granger (Noma Dumezweni). The story opens in London’s Kings Cross Station as parents bid farewell to their children about to depart on a train to Hogwarts. Also on the train platform is Harry’s old nemesis Draco Malfoy (Alex Price) and his blond-haired lookalike son Scorpius (Anthony Boyle).

As Albus enters his first year at Hogwarts, he’s anxious having to follow in his famous father’s footsteps. The crux of the story is the growing friendship between Harry’s son Albus and Draco’s son Scorpius; particularly tricky and troublesome since their fathers were once archenemies.

To give too much of the plot away would be criminal because the true thrill of both shows is experiencing the myriad surprises, both from the play itself and the mind-blowing special effects. Suffice it to say, movement director Steven Hoggett, set designer Christine Jones, lighting designer Neil Austin, sound designer Gareth Fry, Illusions & Magic designer Jamie Harrison and countless other technical “wizards” transport us through J.K. Rowling’s vivid, imaginative world with characters and creatures that soar through the air with not a wire in sight—and so much more.

Ultimately, however, it’s not the technical spectacle of Harry Potter and the Cursed Child that moves audiences (though it’s all magical and a gorgeous visual feast yet is unobtrusive enough to never overshadow the material). Despite all the blazing fires and wild sets, what is truly timeless here and profoundly touching is the ongoing theme. The saga is about the consequences for children when parents are physically and emotionally absent.

Director John Tiffany (best known on Broadway for the ingenious reimagining of Tennessee Williams’ The Glass Menagerie in 2013 and his Tony Award-winning direction of Once in 2012) extracts exceptional performances from the entire cast. The standouts: Jamie Parker is consistently engaging as Harry, a father who is distraught about everything his son is experiencing. Noma Dumezweni, as Hermione Granger, is sheer perfection, from her imposing presence to her rapid-fire delivery of dialogue. Eclipsing everyone, however, are the two young actors portraying the prodigal sons. Sam Clemmett as Albus Potter never fails to pack an emotional wallop. Anthony Boyle gives the most richly textured and deeply nuanced performance, and he’s a show-stealer every moment he’s on the stage.

Even without all the visual technical filigree, Harry Potter and the Cursed Child is worth the expensive (and hard to get) ticket price alone for the elegant dialogue, the seamless scene set-ups and the consummate performances that drive the action to the finish line with a glorious message about good triumphing over evil and the power of love between parents and their children.

Edited by Scott Harrah
Published April 30, 2018
Reviewed at April 28, 2018 press performance.

‘HARRY POTTER AND THE CURSED CHILD’: Brian Abraham & company. Photo: Matthew Murphy

‘HARRY POTTER AND THE CURSED CHILD’: Brian Abraham. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The company. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The cast. Photo: Matthew Murphy

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Sam Clemmett, Brian Abraham & Anthony Boyle. Photo: Matthew Murphy

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker & Alex Price. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker & Sam Clemmett. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Edward James Hyland, Sam Clemmett & Anthony Boyle. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The cast. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The company. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Noma Dumezweni & David St. Louis. Photo: Manuel Harlan

The post ‘Harry Potter & the Cursed Child’: Epic magic appeared first on StageZine.