‘CAMELOT’: Phillipa Soo & Andrew Burnap. Photo: Joan Marcus.

CAMELOT
Music by Frederick Loewe
Original book & lyrics by Alan Lerner
Book by Aaron Sorkin
Based on T. H. White’s The Once and Future King
Directed by Bartlett Sher
Vivian Beaumont Theatre
150 West 65th Street
(212-239-6200), https://camelotbway.com/

By David NouNou

Lord, save the musical theatre from heavy-handed “serious” writers who insert themselves into classic musicals in the name of reinventing them. Camelot was the next venture for Lerner and Loewe following their smash hit My Fair Lady. They tackled T. H. White’s fantasy novel The Once and Future King, which were short stories based about King Arthur based on the 1485 work Le Morte d’Arthur by Sir Thomas Mallory. They created this fantasy world for the theatre about King Arthur, meeting and marrying Guenevere, creating the round table with knights of the highest order and valor, and its most formidable knight Lancelot du Lac. Visually, Camelot was and may still be the most opulent, extravagant, lavish and colorful musical ever created. I know, I saw it and remember it vividly, thanks in large part to my parents taking me to the theatre at a very early age.

The book by Mr. Lerner wasn’t perfect; it contained too much plot and so many characters but it had an easy flow. The score was sublime especially the lilting music by Mr. Loewe. This is not an easily revivable musical in great part because of the complicated and overlong book and Aaron Sorkin hasn’t made it any better. Between him and Bartlett Sher—who is a formidable director of musicals: South Pacific, The King and I, My Fair Lady,  all under the banner of Lincoln Center—have stripped the fantasy, joy, glory, pomp, extravagance and whimsy and left us this dreary, vapid, monochromatic, joyless world that once was known as Camelot.

Starting with Arthur (Andrew Burnap) hiding from his arranged betrothal to Guenevere (Phillipa Soo), Princess of France, to end the wars and seal the relationship between England and France. Arthur and Guenevere, while escaping from her retinue, stumble upon each other in the wintry woods near the castle where Arthur explains the virtues of Camelot in the song “Camelot.” The two form a bond, which will lead to the creation of the round table. Arthur’s mentor and tutor, Merlin (Dakin Matthews), before dying, warns Arthur of impending doom but doesn’t tell him what it is. In walks Lancelot (Jordan Donica), the knight of the highest ideals singing his own virtues in “C’est Moi.”

Temptation does enter this magical kingdom of virtue, morals and standards where no one is above the law. Arthur’s illegitimate son, Mordred (Taylor Trensch), is the snake in the garden of Eden who tempts Lancelot and Guenevere to be caught together, and causes the undoing of Arthur and all of his idealistic dreams.

Again, although it wasn’t perfect, Lerner and Loewe attempted to create a beautiful world where one could hope for a better future. In Sorkin and Sher’s world, on the enormous Vivian Beaumont stage, their world starts out bleak, threadbare, and has no chance for any higher ideals, the illusion and fantasy are missing and there is no hint of it in Michael Yeargan’s nonexistent sets. Instead of armor, gossamer and brocade, the costumes by Jennifer Moeller are so drab, dreary and adorned with black leather that this Camelot lacks any illusion, mystique or charm.

Thankfully, what is kept intact is the beautiful and melodic score and that is in large part due to its musical director and conductor Kimberly Grigsby. One can just close one’s eyes and listen to Ms. Grigsby and her full glorious orchestra and I’ll quote “Don’t let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot.”

Edited by Scott Harrah
Published April 16, 2023
Reviewed at April 15, 2023 press performance.

‘CAMELOT’: Phillipa Soo, Andrew Burnap, Dakin Matthews & Jordan Donica. Photo: Joan Marcus.

‘CAMELOT’: Andrew Burnap. Photo: Joan Marcus.

‘CAMELOT’: Jordan Donica. Photo: Joan Marcus.

‘CAMELOT’: Andrew Burnap. Photo: Joan Marcus.

‘CAMELOT’: Jordan Donica & Phillipa Soo. Photo: Joan Marcus.

‘CAMELOT’: Phillipa Soo. Photo: Joan Marcus.

‘CAMELOT’: Taylor Trensch & Marilee Talkington. Photo: Joan Marcus.

‘CAMELOT’: Danny Wolohan, Anthony Michael Lopez, Fergie Philippe & Dakin Matthews. Photo: Joan Marcus.

‘CAMELOT’: Phillipa Soo & cast. Photo: Joan Marcus.

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‘THE PARISIAN WOMAN’: Josh Lucas & Uma Thurman. Photo: Matthew Murphy

THE PARISIAN WOMAN
Written by Beau Willimon
Inspired by Henri Becque’s La Parisienne
Directed by Pam MacKinnon
Through March 11, 2018
Hudson Theatre
141 West 44th Street
(855-801-5876), www.ParisianWomanBroadway.com

By David NouNou

Somewhere in heaven, the late novelists Jacqueline Susann and Jackie Collins are fuming and wondering if they can collect any royalties from Beau Willimon’s The Parisian Woman. Every ludicrous cliché they ever wrote in their novels (from blackmail to scandalous illicit affairs) is here. Whereas theirs was “pulp fiction,” no pun intended, and can be read over and over again as escapism, this is expensive babbling at high Broadway ticket prices and it will be dated within four years hopefully (if not earlier, if there is any justice in the political world of today).

Uma Thurman is gorgeous as the calculating Chloe. A woman who doesn’t do much these days but did fritter her youth away with love affairs, art and beauty in Paris. She now lives to further the career of her husband Tom, the equally gorgeous Josh Lucas. He is a tax lawyer that sees his time as now in the helter-skelter world called Washington, D.C. to be a nominee for chief justice. Chloe and Tom live in a luxury townhouse, no children, and are allowed to have affairs on the side as long as they don’t talk about it. An ideal situation in the imperfect Duchy of Washington.

The snake in this idyllic garden is Peter (Marton Csokas), a D.C. banker and supporter of the RNC and he has connections with an incoming president whose last name begins with a “T.” His character is more absurd and more ridiculous than anyone Ms. Susann or Ms. Collins could have ever concocted. He is hopelessly, madly and jealously in love with Chloe. He even divorced his wife for her. He is so enamored by Chloe that within the first 10 minutes of the play, she is manipulating him to put in a good word with “you know who” for the seat in the Justice Department. After all, this is only a 90-minute play, so the proceedings have to move quickly.

There is also Jeanette (Blair Brown), some bigwig who has just been appointed by “you know who” for I don’t know what and wants to befriend Chloe because of her spunk and refreshing forthrightness. Jeanette has a lovely daughter, Rebecca (Phillipa Soo), who has just graduated from Harvard Law School, wants to go into politics, jump through a few political hurdles first, and then has her eyes set for the ultimate prize, being president of the USA. Of course, to right all the wrong that is being done today by “you know who.”

All this folderol is directed with the usual leaden hand of Pam MacKinnon (remember earlier this spring, she helmed the dreadful dud Amelie?) Ms. MacKinnon also recently directed David  Mamet’s putrid China Doll and the awful 2015 revival of The Heidi Chronicles.

The one bright note in theatrical parlance is Blair Brown. She is a perfectionist and can make the most awful mundane lines seem plausible. Credit must also be given to Ms. Soo for adding some gravitas to her trite role. As for Ms. Thurman and Mr. Lucas, they have to settle for gorgeous.

Edited by Scott Harrah
Published December 6, 2017
Reviewed at December 5, 2017 press performance.

‘THE PARISIAN WOMAN’: Uma Thurman. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: Phillipa Soo & Uma Thurman. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: Uma Thurman & Marton Csonkas. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: Phillipa Soo. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: Josh Lucas. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: Blair Brown. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: (left to right) Uma Thurman, Blair Brown & Phillipa Soo. Photo: Matthew Murphy

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‘AMÉLIE:: Adam Chanler-Berat & Phillipa Soo. Photo: Joan Marcus

AMÉLIE: A NEW MUSICAL
Book by Craig Lucas
Music by Daniel Messe
Lyrics by Nathan Tysen and Mr. Messe
Based on the movie by Jean-Pierre Jeunet and Guillaume Laurant
Directed by Pam MacKinnon
Choreography by Sam Pinkleton
Walter Kerr Theatre
219 West 48th Street
New York, NY
(212-239-6200),www.AmelieBroadway.com

By David NouNou

Look up the definition of asphyxiation: “the state or process of being deprived of oxygen, which can result in unconsciousness or death; suffocation.” Asphyxiate is exactly what the creators and Pam McKinnon have done to the enchanting , quirky 2001 French film Amélie, which was set in Paris. Supposedly it is still set in Paris but you would never know it, other than French names of characters and avenues being mentioned. What was once an enchanting, charming and a colorful motion picture full of visual delights has been reduced to slow-motion comic strips devoid of whimsy or fairytale delights.

Amélie (Phillipa Soo), born to very strict parents, home schooled and her lonely childhood filled with daydreaming, has grown up and moved to Paris. There she works in a café owned by Suzanne (Harriet D. Foy), lives opposite a wise old painter, Dufayel (Tony Sheldon), swirls around many characters circling her orbit and naturally a boyfriend, Nino (Adam Chanler-Berat). There’s even an Elton John-style character called “Rock Star” (Randy Blair), thrown in for no apparent reason.

Once in Paris, Amélie finds an old treasure box under the floor boards in her apartment. She also learns of the death of Princess Diana and her philanthropic deeds. With this news, Amélie starts on her yellow brick road to find the owner of the box and start doing good deeds for others. With this transformation she in turn transforms her life as well as others.

In the movie it was a lovely yarn set all around Paris and the magic that fills the city. In this version it can be anywhere USA, but we are told it is Paris. The score is lifeless and dreary; no lilting French music or haunting melodies, just dirges. What should have been lighter-than-air direction is a plodfest of caricature thanks to Pam McKinnon.

Phillipa Soo (of Hamilton fame) gives her all to muster some life into the show, but the leaden material she is given drowns her. Tony Sheldon, as the wise neighbor and painter, comes off best; he is a pure delight.

Amélie is the latest victim to join the ranks of such dreadful, misguided musicals based on films that should never have been musicalized: Bonnie and Clyde, American Psycho, Honeymoon In Vegas, Bullets Over Broadway and the most epic dud of them all, Dr. Zhivago.

Edited by Scott Harrah
Published April 7, 2017
Reviewed at press performance on April 6, 2017

‘AMÉLIE:’: Phillipa Soo & cast. Photo: Joan Marcus

‘AMÉLIE’: Phillipa Soo, David Andino & cast. Photo: Joan Marcus

‘AMELIÉ::’: Phillipa Soo & Adam Chanler-Berat. Photo: Joan Marcus

‘AMÉLIE’: The cast & Phillipa Soo. Photo: Joan Marcus

‘AMELIE’: Adam Chanler-Berat & cast. Photo: Joan Marcus

‘AMÉLIE’: Adam Chanler-Berat & Phillipa Soo. Photo: Joan Marcus

‘AMELIE’: Adam Chanler-Berat & Phillipa Soo. Photo: Joan Marcus

‘AMÉLIE’: Tony Sheldon & Phillipa Soo. Photo: Joan Marcus

‘AMÉLIE’: Phillipa Soo & Savvy Crawford. Photo: Joan Marcus

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THE SHOW HEARD ROUND THE WORLD: Daveed Diggs (center) as Thomas Jefferson & ensemble in the revolutionary blockbuster musical ‘Hamilton’. Photo: Joan Marcus

HAMILTON
Music, book & lyrics by Lin-Manuel Miranda
Choreography by Andy Blankenbuehler
Inspired by the biography Alexander Hamilton by Ron Chernow
Directed by Thomas Kail
Richard Rodgers Theatre
226 West 46th Street
(877-250-2929), http://www.hamiltonbroadway.com/

By Scott Harrah

Once or twice in a decade, a Broadway show comes along that is so innovative and unprecedented that it changes the American musical theater as we know it. In the 1990s, it was Rent. Nearly five years ago, it was the irreverent The Book of Mormon. In 2015, the game-changing musical is, without question, the blockbuster Hamilton, which recently transferred to Broadway after a sold-out run downtown at the Public Theater.

Indeed, Alexander Hamilton is mostly known to Americans for being on the $10 bill because he was one of the founding fathers of the United States. Unless one is an American history buff, we forget that Hamilton was chief state aide to George Washington, advocate of the U.S. Constitution, founder of the U.S. financial system, the first Secretary of the Treasury, and founder of the world’s first voter-based political system, the Federalist Party, and more. Most know the stories of the other founding fathers of our nation, but not Hamilton, and the true genius of this show is how music, lyric and book writer Lin-Manuel Miranda used Ron Chernow’s biography of Hamilton as the basis for the story and created a theatrical masterpiece. Mr. Miranda has taken what’s normally considered a dry subject, early American history, and turned it into an entertaining epic that appeals to the masses of all ages. Yes, the chronology of events in the American Revolutionary War are all here, but Mr. Miranda adds depth and complexity to everyone from George Washington (Christopher Jackson) to Aaron Burr (Leslie Odom, Jr.) and Thomas Jefferson (Daveed Diggs). There hasn’t been a Broadway musical with this much youthful magnetism and solid storytelling in many moons.

Hype has surrounded this show ever since it debuted at the Public this past winter. Hamilton has been the hottest ticket in town and one has not been able to go online or open a newspaper or magazine without reading some blurb singing its praises in the past six months. The hoopla is all justified, because from the two opening numbers, “Alexander Hamilton” (an expository song that sums up the man’s early life) and “My Shot” in Act I, Hamilton at first seems more like a seamless, energetic pop music concert than a Broadway musical, but in essence there is really nothing gimmicky going on at all. Yes, there are hip-hop and pop-style songs, but also many beautiful ballads and more traditional show tunes, all of which propel the story forward exquisitely. Mr. Miranda has also created an intricate historical epic that unfolds with rapid-fire energy and never lets up. It is completely unlike any of Mr. Miranda’s previous efforts, namely In the Heights, which won the Tony Award for Best Musical in 2008.

We learn all the biographical details about Alexander Hamilton, the illegitimate son of a Scotsman and a prostitute born in the Caribbean, to his journey to America and how he helped the other founding fathers create the new USA after the Revolutionary War, but we also learn about Hamilton’s clashes with the third Vice President of the United States, Aaron Burr (Mr. Odom, Jr.), in the show-stopping song “The Room Where It Happens,” a number so infectious that it could easily be released as a pop song on the radio. The same holds true for George Washington’s ballad “One Last Time.” As Hamilton, Mr. Miranda’s performance is consistently solid, sincere and convincing, even if he’s not always the most dynamic performer on the stage.

Stage and TV star Jonathan Groff is a true scene-stealer as Mad King George III, America’s last monarch. Taking over the role originated Off Broadway at the Public by Brian d’Arcy James, Mr. Groff, clad in his huge regal crown and full king regalia, holding an imperial scepter, portrays the king as a petulant buffoon, seeing the revolting colonists as naughty, wayward children as he belts out such songs as “You’ll Be Back” with amusing, snarky aplomb.

The women in Hamilton’s life are just as influential, showing how they, too, made a difference in the early days of our nation. Renee Elise Goldsberry, as Angelica Schuyler, the sister of Hamilton’s wife, is especially moving whenever she sings “Satisfied” in her soaring voice. Phillipa Soo is equally outstanding as Eliza, Hamilton’s wife, a woman who petitioned Congress to publish her husband’s writings. Whenever Ms. Goldsberry and Ms. Soo sing, they bring down the proverbial house. Ms. Soo is absolutely haunting when singing “Burn,” a ballad about the pain of being Hamilton’s long-suffering wife.

Director Thomas Kail keeps the story moving along with fluid precision and at an exhausting, nonstop pace at all times. Andy Blankenbuehler’s choreography is graceful and marvelously stylized; the fusion of direction and choreography complement each other in the frenetic goings-on in this nearly three-hour, monumental show. Hamilton has truly started a Broadway revolution and will continue to influence the American musical theater for years to come.

GEORGE WASHINGTON: Christopher Jackson & ensemble in ‘Hamilton.’ Photo: Joan Marcus

GREAT WOMEN OF THE NEW AMERICAN NATION: Phillipa Soo, Renee Elise Goldberry & Jasmine Cephas Jones in ‘Hamilton.’ Photo: Joan Marcus

MAD KING GEORGE III: Jonathan Groff as America’s last monarch. Photo: Joan Marcus

AARON BURR: Leslie Odom, Jr. in ‘Hamilton.’ Photo: Joan Marcus

ELIZA & ALEXANDER HAMILTON: Phillipa Soo & Lin-Manuel Miranda. Photo: Joan Marcus

THOMAS JEFFERSON: Daveed Diggs in ‘Hamilton.’

AARON BURR & CO: Leslie Odom, Jr. & ensemble in ‘Hamilton.’ Photo: Joan Marcus

THE ‘RENT’ & ‘BOOK OF MORMON’ OF THE NEW MILLENNIUM TEENS: The cast of the monster hit ‘Hamilton.’ Photo: Joan Marcus

Video montage from Hamilton

Edited by Scott Harrah
Published August 15, 2015
Reviewed at press performance on August 13, 2015

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