‘A CHRISTMAS CAROL’: Jefferson Mays. Photo: A Christmas Carol Live.

CHARLES DICKENS’ A CHRISTMAS CAROL
Written by Michael Arden, Susan Lyons, Jefferson Mays
Production conceived by Michael Arden & Dane Laffrey
Directed by Michael Arden
Through January 1, 2023
Nederlander Theatre
208 West 41st Street
(212-239-6200), www.AChristmasCarolLive.com

By David NouNou

Jefferson Mays dons many hats in this adaptation of Charles Dickens’ A Christmas Carol. He not only took part in writing this play, but is also the narrator, actor and definitely the star of this piece.

As narrator, Mr. Mays gives us the insight and history of Ebenezer Scrooge. As actor he portrays: Scrooge, Marley, his partner in business, Ghosts of Christmas Past, Present and Future, as well as Mr. and Mrs. Fezziwig, Mr. and Mrs. Bob Cratchit and all the Cratchit children.

When attending this production, a viewer will not experience the usual miser turned altruist but will experience a standout bravura performance by Jefferson Mays. Mr. Mays is indefatigable. Anyone familiar with Mr. Mays’ body of work will recall his brilliant one-man Tony Award-winning performance in I Am My Own Wife. He consistently delivers unforgettable performances.

To make this performance stand out as an event is Michael Arden’s fine-tuned direction because every expression and movement has to count. To heighten the drama, the proceedings are further abetted by Dane Laffrey’s constant sets in motion and Ben Stanton’s eerie lighting.

This is not the typical movie or TV extravaganza of Dickens’ classic holiday tale, but a showcase for Mr. Mays’ infinite talents.

Edited by Scott Harrah
Published December 2, 2022
Reviewed at December 1, 2022  press performance.

‘A CHRISTMAS CAROL’: Jefferson Mays. Photo: A Christmas Carol Live.

‘A CHRISTMAS CAROL’: Jefferson Mays. Photo: A Christmas Carol Live.

‘A CHRISTMAS CAROL’: Jefferson Mays. Photo: A Christmas Carol Live.

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‘THE MUSIC MAN’: Hugh Jackman, Sutton Foster & cast. Photo: Julieta Cervantes.

THE MUSIC MAN
Book, music & lyrics by Meredith Willson
Based on a story by Meredith Willson & Franklin Lacey
Directed by Jerry Zaks
Choreographed by Warren Carlyle
Winter Garden Theatre
1634 Broadway at 50th Street
(212-239-6200), www.MusicManOnBroadway.com

By David NouNou

Americana at its very best.

I have been called a traditionalist, and I am proud of it. Being one of the few remaining dinosaurs who saw the original version of The Music Man in 1959 at the Majestic Theatre, starring Robert Preston and Barbara Cook, I can’t say I was overwhelmed by it. I was only a little boy, I thought it was too long and I didn’t understand the lingo being spoken on stage.  The things that excited me most were so many people dancing, singing and having a good time on stage. I was dazzled by the sets and costumes. I actually wanted to learn to play a musical instrument so I could be a part of the show and play in Professor Harold Hill’s band.

This brings us to 2022. I never learned to play a musical instrument, but over the years I’ve come to appreciate the complexities of what it takes to write a musical. This is a period piece for sure and for modern audiences it may seem stilted. However, one must see it from the context of when it was written and about the times in which it was written. Meredith Willson, being a native of Iowa, wrote a beautifully complex and textured tale about the people he knew best at the turn of the 20^th century in the small town of River City, Iowa. He also wrote the entire score which defines all the characters and their attitudes in the score.

Into this small, sleepy, and unfriendly town storms Professor Harold Hill (Hugh Jackman), trying to sell these cold and gullible folks musical instruments and band uniforms for their children. Once he fleeces his sheep, he usually runs out of town with the money and leaves them with no band. In this instance, there is a little hitch by the name of Marian the librarian (Sutton Foster) who is on to Professor Hill’s antics. In turn, one gets to meet all the colorful townspeople and their quirks.

Once you get accustomed to the lingo used—the likes of jokes from Captain Billy’s whiz bag, Sen-Sen, “so’s your old man,” dime novels, libertine men, “scarlet women and shameless music”—and get in step with the proceedings, it becomes a joyride from start to finish.

This revival brings back to life the magic that was Broadway. A musical that has an orchestra pit, an actual visible conductor, and an orchestra playing real instruments that you can hear and feel the music with no prerecorded and overmiked tracks. An actual live orchestra and a stageful of marvelous performers acting, singing, hoofing and giving it their all. What a joy to finally see a revival or any musical with a cast of 42 people filling the stage and each playing their designated role and not have to watch 20 people going in and out of different characters and play chorus members as well.

Hugh Jackman may not be Harold Hill of 1912, but he is certainly Professor Hill for 2022 and hopefully for years to come. His charm and energy are boundless, he sings sublimely, looks divine, and he is a hoofing Harold Hill. What more can you ask of the man?

Sutton Foster gives us a different interpretation of Marian Paroo, the librarian. Unlike any of her predecessors who came off as sweet and ladylike, this young lady takes no guff from any one, stands her ground, and isn’t waiting for a white knight to rescue her. She is in complete control.

The townsfolk are priceless: Marie Mullen as wise Mrs. Paroo is an Irish charmer; Jayne Houdyshell as Mrs. Shin, the Mayor’s wife, is a showstopper with every move and glance. Jefferson Mays as Mayor Shin is perfect at getting flummoxed easily. The quartet of Phillip Boykin, Eddie Korbich, Nicholas Ward and Daniel Torres is impressive, and their harmonizing is a constant delight throughout the show. One will especially fall in love with Benjamin Pajak as Winthrop Paroo; that was the role I was willing to learn an instrument for when I was a kid and wanted to be in the show to play Winthrop.

To my glee, Warren Carlyle has kept the infectious period dances and his excellent dancers of all ages keep in step. Jerry Zaks, usually an expert director on extravaganzas, could have decluttered the sets a bit and instructed Santo Loquasto, the designer, a more realistic vision than just a side of a barn or painted backdrops. These are mere trifles for an evening that explodes with joy and heart; the musical theatre’s cup has runneth over.

Please indulge me in being able to thank my parents for taking me to the theatre at an early age and introducing me to the magic that was Broadway to such an extravaganza as The Music Man. Watching Hugh Jackman and Sutton Foster and the rest of the glorious cast took me back decades to being a small child who wanted to learn the cornet so he could be in a show. I urge parents to take their children to see this glorious version of The Music Man and know what magic Broadway can create if done well, and who knows— maybe someday your kids will thank you, too.

Edited by Scott Harrah
Published February 16, 2022
Reviewed at February 15, 2022 press performance.

‘THE MUSIC MAN’: Hugh Jackman, Sutton Foster & cast. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Hugh Jackman (center) & cast. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Jefferson Mays (center) & cast. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: (left to right) Phillip Boykin, Nicholas Ward, Hugh Jackman, Daniel-Torres & Eddie Korbich. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: The cast. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: The cast. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Shuler Hensley. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Benjamin Pajak & Marie Mullen. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Sutton Foster. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Jayne Houdyshell. Photo: Julieta Cervantes.

‘THE MUSIC MAN’: Hugh Jackman & Sutton Foster. Photo: Julieta Cervantes.

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‘OSLO’: (left to right) Daniel Oreskes, Michael Aronov, and Anthony Azizi (foreground) with Daniel Jenkins and Jeb Kreager (background). Photo: T. Charles Erickson

OSLO
Written by J. T. Rogers
Directed by Bartlett Sher
Vivian Beaumont Theatre
150 West 65th Street
(212-889-6300), http://www.lct.org/

By David NouNou

Many remember the famous handshake between Israeli Prime Minister Yitzhak Rabin and Palestinian Liberation Organization (PLO) Chairman Yasser Arafat in the White House Rose Garden, presided over by President Bill Clinton on September 13, 1993. Playwright J.T. Rogers brilliantly documents all the details that took place before that historic moment in time in his outstanding drama Oslo.

It all started with the married Norwegian diplomatic couple Terje Rod-Larsen (Jefferson Mays) and Mona Juul (Jennifer Ehle). On a visit to the Holy Land, they witnessed an Israeli soldier and a Palestinian youth with weapons aimed at each other and the senselessness of all this loss of lives. They form the backstory of what is now known as the Oslo Peace Accords. Instead of dealing with the United States to broker such a deal, they dealt with the two warring factions: the Israelis and the PLO, bringing them together to sort out their own peace. Rather than having foreign countries getting involved and roiling up the waters, peace was to be made by these emissaries in acceptance with their leaders. All this was done in secret locations and with code names, without having the rest of the world in the know. If anything ever leaked out of such meetings, the consequences would have been dire and fatal for all.

Although we know of the final outcome of the Oslo Accord, J. T. Rogers has masterminded an epic journey of the events that took place and keeps us riveted throughout. Director Bartlett Sher and projectionists 59 Productions take us through this fraught journey (with footage of Israeli-Palestinian conflict) of foreign lands and intrigue as if it were an espionage movie. The storyline unfolds both mysteriously and vividly. We come to know all the players and the intrigue that took place behind closed doors and the ordeals they experienced to forge this peace treaty.

The cast works magnificently as an ensemble. As the masterminds, Rod-Larsen and Juul, Jefferson Mays and Jennifer Ehle are brilliant as usual. Although they have the less flashy roles, they work hard as both the organizers as well as the storytellers of this incredible endeavor. Michael Aronov as Uri Savir, the Israeli Director General of the Foreign Ministry, and Anthony Azizi as Ahmed Qurie, the Finance Minister of the PLO, are powerhouses in their scenes of rage, both trying to forge an alliance. They are wonderfully supported by Adam Dannheisser, Israeli Deputy Foreign Minister  Yossi Beilin; Daniel Oreskes as Yair Hirschfeld and Foreign Minister Shimon Peres; and Daniel Jenkins Jan Egeland, Norwegian Foreign Minister, as well as Israeli Ron Pundak.

Oslo valiantly shows the lengths people are willing to go through for Middle East peace.  It also shows at what price peace is attained; and when it is all said and done, is the price worth it when there is so much hatred between these two factions? Will peace ever be attained? For as much goodwill as there is, ultimately there will be dissenters who will bring it crashing down.

Edited by Scott Harrah
Published April 17, 2017
Reviewed at press performance on April 16, 2017

‘OSLO’; (left to right) Michael Aronov, Jefferson Mays & Anthony Azizi. Photo: T. Charles Erickson

‘OSLO’: Henny Russel (center) with Daniel Jenkins, Dariush Kashani, Jefferson Mays, Angela Pierce, Daniel Oreskes, & Anthony Azizi. Photo: T. Charles Erickson

‘OSLO’: Jefferson Mays & Jennifer Ehle. Photo: T. Charles Erickson

‘OSLO’: Jennifer Ehle & Jefferson Mays. Photo: T. Charles Erickson

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THE FRONT PAGE
Written by Ben Hecht and Charles MacArthur
Directed by Jack O’Brien
Through January 29, 2017
Broadhurst Theatre
235 West 44th Street
(212-239-6200), http://thefrontpagebroadway.com/

By David NouNou

When you have a cast that includes Nathan Lane, John Slattery, John Goodman, Jefferson Mays, Robert Morse, Holland Taylor and Sherie Rene Scott, it hardly matters what the play is about. The people are paying to see the cast, not necessarily the show. Hence the capacity business.

Written in 1931 and set in 1928 in a press room of the Criminal Courts Building, in Chicago, Ben Hecht writing The Front Page in collaboration with his partner, Charles MacArthur, is writing of his early days as a journalist. He wrote for the Chicago Daily Journal, among others. The story centers on journalists trying to find the latest dirt or gossip that is going on around town. On this particular day they are trying to get a scoop on Earl Williams (John Magaro), a white man and supposed Communist revolutionary convicted on charges of killing a black policeman. While Williams is being given a psychological test, he shoots the examiner and flees jail.

Walter Burns (Nathan Lane), head of the Herald Examiner, is looking for his head writer, Hildy Johnson, (John Slattery) to get the scoop on the escape. Hildy has quit the paper and is off to New York with his fiancée, Peggy Grant (Halley Feiffer) and her mother, Mrs. Grant (Holland Taylor). He has come back to say good-bye to his cronies for the last time and get his money from Walter and take off. Complications arise that hold him back from leaving, especially the escape of Earl Williams from prison. What a final scoop?

The storyline is interesting enough, but is verbose and way too long. The show runs almost three hours (has two intermissions) and a lot of things are repeated. Shows of the 1930s and 1940s were usually three hours and not the 90 minutes we are used to today. Although The Front Page is a comedy, it lacks a lot of humor. The humor arises in Mr. Lane’s antics. The subject matter was considered serious, so the humor is at a minimum and what there is of the humor seems dated and the journalists are stereotypes. All sorts of journalistic lingo of the day is flying around, journalists running in and out, giving their scoops to their editors over the phone. Yes, those were the days when they phoned in their story; no emails, texts, none of today’s conveniences.

The story moves along and the performances are all fine and genuine. However, the main reason to see the show, Nathan Lane, doesn’t even enter until near the end of Act II. When he finally enters, the speed of the show picks up from 35 miles an hour to 65. Mr. Lane entertains us with his high-strung mercurial speeches and manners–and we have come to love and appreciate each and every one of them, of his utterances, nuances and movements–and once he arrives, the play finally picks up speed and becomes enjoyable. The performance that Lane is giving is wonderful as usual, but he has done this performance hundreds of times, yet who cares? It moves the play along. The rest of the cast are all fine and they all give exact (if not stereotypical) performances.

Unfortunately for this play, journalism has taken such a turn; it was revered once and held as gospel. Look at journalism today and the mockery that is going on in the elections; it has hit a new low. Instead of interesting subject matters or viable candidates, networks and journalists select a candidate who gets ratings. Although it is a good revival, it is hard to get involved in the storyline, as something is missing: Salaciousness.

Edited by Scott Harrah
Published October 20, 2016

‘THE FRONT PAGE”: John Goodman. Photo: © Julieta Cervantes

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