A TIE FOR BEST SHOW OF 2015: ‘Something Rotten!’. Photo: Joan Marcus
A TIE FOR BEST SHOW OF 2015: ‘Hamilton.’ Pictured: Christopher Jackson & ensemble in ‘Hamilton.’ Photo: Joan Marcus
This year at StageZine, we decided to do things a bit differently for our annual Best and Worst list. None of us could come up with 10 Best or 10 Worst, so we decided to list what we felt was best and worst without adding extras just to complete a list. For Best Show of the year, it was a real tossup. Do we go with the obvious, the original and groundbreaking musical by Lin-Manuel Miranda, Hamilton?– or the highly original, extraordinarily delightful, funny musical by the Kirkpatrick Brothers and John O’Farrell, Something Rotten? Both had incredible scores and ingenious directions, but each filled a different criteria, so for the best it is a tie between: Hamilton and Something Rotten!
David NouNou: Best of Broadway 2015
Hand to God: Best original American play in many a year, with Steven Boyer’s outstanding and unforgettable performance. Shame it never found a Broadway audience.
The King and I: Barlett Sher brilliantly conceived the most glorious revival of this Rodgers and Hammerstein classic.
The Audience: An enchanting evening spent with Helen Mirren as Queen Elizabeth II and meetings with her prime ministers.
King Charles III: Another import from Britain, the hypothesis that Elizabeth has died and Charles has ascended the throne. Extremely thought-provoking despite the playwright’s flaw of turning Prince Harry into a caricature.
On the 20th Century: Kristen Chenoweth and director Scott Ellis turned this mundane musical into a must-see extravaganza.
Skylight: David Hare’s best and most accessible play, with outstanding performances by Carey Mulligan and Bill Nighy.
Scott Harrah: Best of Broadway, 2015
The Audience: Another tour de force performance by Helen Mirren, portraying Queen Elizabeth II in Peter Morgan’s fascinating look at the monarch’s private meetings with her prime ministers. Ms. Mirren morphed flawlessly in scene after scene to show the Queen throughout the decades, with only minor costume changes and an arsenal of spot-on facial expressions to depict Elizabeth at different points in time. Live theater at its best.
Something Rotten!: The funniest musical since The Book of Mormon. Full of laughs and excellent performances, with a witty score.
Hamilton: One of the few musicals that lived up to its hype, with hip-hop and pop-style songs, but also many beautiful ballads and more traditional tunes, all of which propel the story forward exquisitely. Lin-Manuel Miranda created an intricate historical epic that has become a phenomenon.
The King and I: A gorgeous revival of a timeless classic, with the exquisite Kelli O’Hara giving her finest performance to date.
King Charles III: A masterpiece even if one isn’t into British history or the monarchy. Tim Piggott-Smith’s multi-faceted portrayal of Prince Charles was one of the must-see performances of the year.
AND, THE WORST…
WORST SHOW OF THE YEAR: The epic bore ‘Dr. Zhivago.’ Photo: Matthew Murphy
David NouNou: Worst of Broadway 2015
This was an eight-way tie for me; never have we seen so many shows vying to take the top spot and here they are.
Dr. Zhivago: Possibly the dreariest musical ever misconceived.
China Doll: David Mamet, Al Pacino and Pam MacKinnon at their worst.
Amazing Grace: A musical built around a hymn, written by an ex-policeman from Pennsylvania. Let’s pray for no more divinely inspired musicals.
‘AMAZING GRACE’: Show never had a prayer. Photo: Joan Marcus
Misery: Title says it all. Based on the 1990 movie, not even Bruce Willis and Laurie Metcalf could save this one.
Sylvia: Nothing can be worse in the theater than sitting through an unfunny show. A tiny, flimsy comedy that was designed for a small Off-Broadway theatre, 20 years later being revived as a Broadway show with a somnambulistic Matthew Broderick.
Gigi: A God-awful revival of a dreadful musical that should have never been adapted for the stage in the first place.
It Shoulda Been You : Tried to pass as an original musical, but was riddled with every stereotype and awful cliché in the book about the trials and tribulations of getting married.
‘FISH IN THE DARK’: One stinky fish. Pictured: Rosie Perez & Larry David. Photo: www.fishinthedark.com
Fish In The Dark : Tried to pass itself off as a comedy but had every cliché and platitude in the book about death in a Jewish family, courtesy of Larry David. Would have worked better as a half-hour episode of “Curb Your Enthusiasm” than as a two-hour comedy. But to Mr. David’s credit, it was a top dollar sellout with its all-star cast and Mr. David starring in his own vehicle.
Scott Harrah: Worst of Broadway, 2015
Dr. Zhivago: A pretentious, inept, boring attempt to adapt the Russian epic into a musical. The result? Dr. ZZZZ-hivago.
Fish in the Dark: Despite a great cast, with inflated ticket prices, this was a huge disappointment for many. Larry David should understand sitcoms are great on TV, but not on Broadway.
Amazing Grace: The life of the guy (a former slave trader) who wrote the Christian hymn of the same name, done as a musical by a neophyte author. Lord, save us from more religious-themed drivel.
Misery: A great book and film, but it doesn’t work as a stage play. Bruce Willis was totally miscast, and everyone expected more from Laurie Metcalf.
China Doll: Al Pacino’s a great actor. What’s he doing in this blathering mess of a show? After The Anarchist and now this dud, playwright David Mamet needs to retire.
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BUENA VISTA AT SUNSET: Colonial charm in downtown Puerto Vallarta, Mexico. Photo: Visitvallarta.com
By Scott Harrah
Puerto Vallarta was once just a sleepy fishing village until Elizabeth Taylor and Richard Burton put it on the international map while Burton was filming Night of the Iguana in nearbyMismaloya in the 1960s. Today, Puerto Vallarta is one of the most popular, diverse resorts in Mexico and is thriving with a dedicated American and Canadian following that keeps returning for the famous restaurants, perfect weather, colonial charm, tolerant attitudes and the warmth of the locals.
One of the first things any new visitor will notice about Puerto Vallarta is the diversity of the city and how there is something here for virtually every type of person, from young, tattooed hipsters to retirees to newlyweds to families with kids to aging hippies to gay men and lesbians.
There is a freedom “vibe,” similar to what one finds in San Francisco and New Orleans. In fact, the cobblestone streets, bars, restaurants and balmy weather of Centro (the downtown area) seem a bit like a tropical version of New Orleans’ French Quarter, but everything is immaculately clean. For a town that is literally hopping with people on every corner, it is rare to see any trash or litter in the streets.
Puerto Vallarta is a bilingual city where most people speak English and everything is geared toward the English-speaking tourist, but the city still maintains an authentic Mexican feel unlike many resort towns South of the Border.
Gateway to Mexico’s West
Puerto Vallarta is actually not just a city, but the gateway to an entire resort region of Western Mexico. Situated on Banderas Bay on the Pacific, the southern portion of Puerto Vallarta encompasses Centro, El Malecon (the newly renovated boardwalk, with shops, restaurants and nightclubs situated by sculptures of dolphins, a seahorse, and more), Playa Los Muertos beach and its new pier, Zona Romantica and Conchas Chinas, with the more upscale Hotel Zone and Marina to the north. North of the Marina is Nuevo Vallarta in Riviera Nayarit, a 200-mile stretch of prime coastline and a newer area of all-inclusive resorts and timeshare “vacation clubs.” (Do beware of timeshare salesmen, particularly in the arrivals area just outside Customs at the airport. Pass right by them and refuse any offers of “presentations” or “free” anything.)
Restaurants: Foodies’ Paradise
With more than 600 restaurants, Puerto Vallarta is a favorite for “foodies,” and there is everything from local Mexican places to gourmet French, Mediterranean, seafood and specialty restaurants. Some of the best include Vista Grill, located on a mountaintop, with a gorgeous view of the entire Puerto Vallarta area. Enjoy international cuisine and seafood (http://www.vistagrill.com) . Another favorite in the downtown area is Café des Artistes, an expensive but elegant restaurant with a great menu (http://www.cafedesartistes.com/).
A unique experience is Teatro Limon, a short cab ride away from the Marina and Hotel Zone (http://www.teatrolimon.com/). This is unlike any restaurant you will find in Mexico or North America. It is like visiting the home of a friend in Puerto Vallarta and having a five-star meal cooked right in front of you. There is no menu, but the owner will sit down with once you arrive and ask you what kind of food you like and what you do not like. He has from great rib-eye steak to buffalo and great seafood, plus an extensive wine list. The place is pricey, but is definitely worth visiting once.
Sightseeing & Things To Do
El Malecon is a “must see” for every visitor. So is the iconic Our Lady of Guadalupe Cathedral, the focal point for the Puerto Vallarta skyline. Olas Altas has many seafood restaurants and bars. There is also parasailing over the bay. Your hotel can arrange an excursion to see whales on Banderas Bay (whales from Alaska mate in the bay each winter), as well as a day trip to the Marietas Islands and the famous hidden beach there.
Where to Stay
If you want to be within walking distance to the downtown area, stay at one of the hotels downtown or near El Malecon. The hotels downtown are inexpensive and primarily tourist class. However, the better hotels are in the Hotel Zone, just a short bus or cab ride away. One of the best in the Hotel Zone is Fiesta Americana Puerto Vallarta All-Inclusive and Spa Hotel, a five-star resort with luxury rooms and a caring, friendly staff that will pamper you like royalty (http://www.fiestamericana.com/puerto-vallarta/hotel-puerto-vallarta). The hotel became all-inclusive in late 2014.
One should always do research online before selecting a hotel to find a place with great amenities that is also near sightseeing and attractions. For everything from service and friendly staff to good food and drinks and a perfect location, Fiesta Americana Puerto Vallarta All-Inclusive and Spa Hotel is a great choice if you want to be close to everything Puerto Vallarta has to offer while still enjoying a quiet resort setting.
If you are into something more secluded, opt for a hotel in the Marina or Nueva Vallarta or further north in Riviera Nayarit. Check such websites as TripAdvisor.com for reviews on the best hotels in the region.
Puerto Vallarta websites
http://www.visitpuertovallarta.com/
LGBT Puerto Vallarta websites
http://www.gayguidevallarta.com/
http://www.gogaypuertovallarta.com/
Edited by Scott Harrah
Published January 12, 2015
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BEST SHOW OF 2014: ‘The Curious Incident of the Dog in the Night-Time’ is also one of the best Broadway dramas in the last decade. Photo: Joan Marcus
As 2014 winds down, it is that time of year again when we at StageZine list our Top 10 Best and Worst of Broadway and Off-Broadway Theater. We each list the shows we loved and those we hated.
David Nounou’s TOP 10 BEST OF 2014
1. The Curious Incident Of the Dog in the Night-Time: Far and away the best play of the year. A brilliant must-see theatrical event.
2. Cabaret: With Emma Stone it became a five-star show again. Best Sally Bowles yet.
3. A Raisin In The Sun: Exciting revival; always great to see it when done to perfection.
4. Aladdin: Best Disney musical since The Lion King.
5. Sweeney Todd: Emma Thompson made this revival at Lincoln Center unforgettable.
6. Heathers: Even with a small budget, a wonderful musical was created due to great imagination.
7. Hedwig and the Angry Inch: Neil Patrick Harris made it indelible and unforgettable.
8. Of Mice and Men: Steinbeck at his best, compelling revival with wonderful performances.
9. Pageant: Always fun to see this takeoff on all beauty pageants, because it is spot-on.
10. The Elephant Man: Bradley Cooper. Need I say more?
ONE OF BEST REVIVALS OF 2014: ‘A Raisin in the Sun’ is the best African-American drama ever & this revival was sublime. Photo: Brigitte Lacombe
THE WORST OF 2014 THEATER IN PICTURES…
MAKING BLUE MOVIES: (Left to right) Daniel Gerroll, Ella Dershowitz, Austin Cauldwell & Déa Julien in the silly porn comedy ‘Intimacy,’ one of 2014’s worst plays. Photo: Monique Carboni.
WORST OF 2014: Canned hip-hop music & every ghetto cliche in the ‘hood made ‘Holler If Ya Hear Me’ a dud. Photo: Joan Marcus
David Nounou’s TOP 10 WORST OF 2014
1. Holler If Ya Hear Me: Definitely and by far the worst show of the year. Misguided conception for a Broadway musical, with inept direction by Kenny Leon.
2. The Realistic Joneses: Usual Will Eno blatherfest.
3. The Last Ship: With or without Sting, this turgid ship sank a long time ago.
4. Bullets Over Broadway: Susan Stroman took a brilliant Woody Allen comedy and turned it into schlock at its worst.
5. Rocky: A horrific and ill-conceived idea for a musical, courtesy of Sylvester Stallone.
6. Bronx Bombers: Actually a stage bomb; the Bronx had nothing to do with it.
7. The River: Thank God it was only half as long as Jez Butterworth’s previous outing Jerusalem, which made it bearable. Although one can watch Hugh Jackman read a phone book and make it interesting, he was miscast here.
8. Under My Skin: Off-Broadway gender-switching concept (starring Kerry Butler) at its incompetent and unfunny worst.
9. Intimacy: Inept and stupid Off-Broadway “porn in suburbia” button pusher from smut auteur Thomas Bradshaw.
10. A Delicate Balance: Pam McKinnon took an Edward Albee snoozefest in which nothing really happens and sucked out any life out of it.
DISHONORABLE MENTION
The Velocity Of Autumn: Had no business being on Broadway and why did they even bother?
It’s Only A Play: Never has so much star power gone to waste and suffered from a basically one-note comedy.
THE BEST OF 2014 THEATER IN PICTURES…
PORTRAIT OF THE JAZZ ICON: Audra McDonald won a Tony for her outstanding portrayal of Billie Holiday in ‘Lady Day at Emerson’s Bar & Grill,’ one of the best shows of 2014. Photo: Evgenia Eliseeva
‘SO VERY’ BRILLIANT: The cast of Off-Broadway’s ‘Heathers The Musical,’ one of 2014’s best. Photo: Chad Batka
Scott Harrah’s TOP 10 BEST OF 2014
1. The Curious Incident of the Dog in the Night-Time: This British import is a rare mix of a great script, outstanding acting and technical wizardry. One of the best shows of the past 10 years, with a Tony-worthy performance by Alex Sharp.
2. Hedwig and the Angry Inch: Neil Patrick Harris helped make this revival a must-see. I liked the original back in the 1990s, but I totally flipped for this Broadway revival of Hedwig.
3. Aladdin: Despite the lukewarm reaction from critics and the Tony Awards, this is a fun and colorful family musical from Disney.
4. Heathers: A “so very” brilliant Off-Broadway adaptation of the 1980s cult film.
5. The Cripple of Inishmaan: This clever Irish play was misunderstood by most critics. Martin McDonagh’s wry Irish humor and Daniel Radcliffe made the show lots of fun.
6. The Elephant Man: A brilliant revival of a play about acceptance, starring Bradley Cooper.
7. Pageant: Great revival of the musical spoof on beauty pageants.
8. A Raisin in the Sun: Outstanding revival of the best African-American drama of all time.
9. Lady Day at Emerson’s Bar and Grill: Audra McDonald channeling Billie Holiday in one her best stage performances to date.
10. Ruthless: The Musical: Hilarious, shamelessly campy revival of the Off-Broadway musical satire that sends up everything from The Bad Seed to All About Eve.
AND THE WORST…
‘BULLETS’ ONLY SHOT BLANKS: The mind-numbingly lame & lifeless musical adaptation of Woody Allen’s ‘Bullets Over Broadway,’ haphazardly directly by Susan Stroman. Photo: Paul Kolnik
BIG TALENTS, CONFUSING SHOW: Toni Collette & Michael C. Hall in ‘The Realistic Joneses,’ one of the worst plays of 2014. Photo: Joan Marcus
Scott Harrah’s TOP 10 WORST OF 2014
1. Holler If Ya Hear Me: A contrived musical with canned, pre-recorded hip-hop music, every half-baked ghetto cliche known in the ‘hood, and zero drama. An insult to Tupac Shakur’s memory. (And the play only featured his music. It wasn’t even about him!)
2. The Realistic Joneses: Despite a great all-star cast, the show was merely more confusing twaddle from the consistently pretentious Will Eno.
3. It’s Only a Play: Full of stars, but Terrence McNally’s smash hit is totally devoid of anything funny. It’s just not much of a play.
4. A Delicate Balance: Edward Albee won the Pulitzer for this? Theater fans paid how much to see this confusing bore-a-thon?
5. Rocky: This adaptation of the Sylvester Stallone classic film didn’t “fly” as a musical, and was a total snoozer until the final scene. Too little, too late. Sorry, Sly.
‘UNDER MY SKIN’: Like a parasite, that is. This unfunny Off-Broadway body-switching ‘comedy’ with Kerry Butler (left) & Matt Walton was like ‘Freaky Friday’ with bad sex jokes & terrible NY accents. One of the 2014’s worst plays. Photo: Broadway.com
6. Under My Skin: Stupid, unfunny body-switching Off-Broadway “comedy” starring Kerry Butler. Like Freaky Friday with bad sex jokes and atrocious attempts at New York accents.
7. Bronx Bombers: One foul baseball play that should have stayed Off Broadway. The Yankees deserved a much better stage bio-drama than this.
8. Mothers and Sons: Another atrocity from Terrence McNally, despite Tyne Daly’s fine performance as a homophobic mother still grieving over her son’s death from AIDS. Dated and preachy drivel.
9. Intimacy: For some reason, one-track-minded provocateur Thomas Bradshaw keeps getting his “porn with a message” Off-Broadway plays produced. Entertaining? Yes. But good theater? No.
10. Bullets Over Broadway: A puerile, pathetic adaptation of the hit Woody Allen film, with random vintage songs thrown in as a “score.” No bullets here–just blanks.
DISHONORABLE MENTION
If/Then: Poor Idina Menzel, a talented diva, playing a recently divorced woman in this hokey dud, depicting a sanitized New York and every bad New York stereotype (past and present) imaginable.
The Velocity of Autumn: Estelle Parsons deserved a much better “comeback” than this lame, pointless drama about an elderly Brooklyn woman and her troubled relationship with her son.
Edited by Scott Harrah
Published December 22, 2014
PAGEANT: THE MUSICAL
Book & lyrics by Billy Russell & Frank Kelly
Music by Albert Evans
Original concept by Robert Longbottom
Directed by Matt Lenz
Davenport Theater
354 West 45th Street
212-239-6200, www.PageantMusical.com
If you are old enough (or were fortunate enough) to have watched the Miss America Pageants of the 1960s or 1970s, in the days when the shows and the girls weren’t as high-tech and polished as today’s pageants, when their smiles were pasted on, their talents reeked in the cheese factor, and the contestants took themselves too seriously and believed in world peace, you’ll howl in recognition at this satire that is spot on in every aspect.Whether you watch Miss America, Miss USA or Miss Universe, today’s pageants are so slick and the women are so overtrained that the only joy comes in the final round when the five finalists have to answer a final question, and we watch in sadistic glee to see which girl answers her question miserably and become a sensation over the Internet or the punch line of every late-night TV talk-show host.
Believe it or not, there were gentler times, when the girls were wide-eyed and naïve enough to believe that the next girl crowned would bring about world peace.I must admit that, even at a young age, I had a penchant for all three pageants and still do. In the 60s and 70s, my least favorite of the three was Miss America because of the talent portion. They used to seem interminable and dreary. It wasn’t till the 90s, when a friend gave me some vintage Miss America tapes starting in 1958, with the crowning of Mary Ann Mobley until 1970, with the crowning of Phyllis George, did I realize what a treasure trove of pure crap was captured, preserved and passed off as talent. The talent didn’t just consist of singing and some form of dance as is the fashion today, but the girls were actually inventive and imaginative in their creativity. Talent ranged from archery to sewing and ventriloquism and everything in between; and if a girl lacked talent, there was always the old standby, the monologues. They were priceless, if for no other reason than the conviction of the delivery, and if that didn’t work, there was another standby, “interpretive dance,” in some absurd costume.
Well, fret no more because Bill Russell and Frank Kelly have captured every one of those dreadful, tacky presentations and more in this revival. They have distilled it to 90 minutes of rapturous joy. Starting with the wonderful emcee, John Bolton, giving a performance that is making Bert Parks (who was the host of Miss America for 25 years) beam in his grave. Mr. Bolton gives the embodiment of every self-satisfied host who thinks he’s presiding over NATO peace talks. The six contestants competing for Miss Glamouress are absolutely sublime. In no particular order, I’ll just give their region and talent, for the rest you’ll just have to go see the show and savor every moment: Nick Cearley (Miss Great Plains), a serious Native American monologue/dance in full regalia, an absolute howl; Nic Corey (Miss Industrial Northeast) playing the accordion, a stereotypical Latina Princess replete with accent; Alex Ringler (Miss Texas), you guessed it, singer, rodeo dancer, and skips rope; Marty Thomas (Miss Deep South), a ventriloquist with multiple puppets and voices, so spot on I was left breathless with laughter, Seth Tucker (Miss West Coast), embodiment of every awful interpretive dance performance; and finally, Curtis Wiley (Miss Bible Belt; the title says it all with a show-stopping number.) Pity there was no baton twirler that always brought the house down. Every performance is different because audiences members selected as “guest judges” get to choose the winner.
There are two more things Pageant: The Musical possesses: great costumes by Stephen Yearick that captures every aspect and section of the competition; and Matt Lenz, who brought the whole show together in a tight, effective and enjoyable evening. You don’t have to be an expert in beauty pageants to enjoy this show. All you need is a sense of humor and the ability to appreciate wonderful satire.
Published July 15, 2014
Reviewed at press performance on July 13, 2014
THE PHANTOM OF THE OPERA
Book by Richard Stilgoe & Andrew Lloyd Webber
Music by Andrew Lloyd Webber
Lyrics by Charles Hart
Based on the novel by Gaston LeRoux
Directed by Harold Prince
Choreography by Gillian Lynne
Majestic Theatre
247 West 44th Street
(212-239-6200), https://us.thephantomoftheopera.com/
By David NouNou
Whether one calls it a Broadway sensation or a tourist attraction, one can’t deny that Phantom is a musical phenomenon. Opened on January 28, 1988, it was the blockbuster then and is still playing strong almost 27 years later. Seeing it originally in 1988 with Michael Crawford and Sarah Brightman, one was dazzled by the show and its showmanship. Seeing it now, one can’t help but study the audience as much as the show. Surely every New Yorker has seen this show at least once. However, observing and listening to the audience now, you realize that you might be the only native New Yorker in the theatre. Just like the Statue of Liberty and The Empire State Building, Phantom has become an institution that is visited by people from all over the world.
So what makes this the longest-running Broadway show? 26 years may not seem long historically, but imagine if you had a child on the night you saw this show in early 1988; your child would be 26 years old today and that is truly monumental.
What is it that has captivated audiences for all these years? It seems like a mandatory subject in schools to see this show, because at any given performance there are the lines of students waiting to get in. What is the mystique that surrounds this show?
Everyone knows the story of this love triangle between opera singer, Christine Daae (Sierra Boggess), her mentor, the phantom (Norm Lewis) and her suitor, Raoul (Jeremy Hays), so no need to dwell on the storyline. The magic flows from Andrew Lloyd Webber’s immortal music. American or foreign tourist, there isn’t anyone who is not familiar with that lush score. Needless to say, with its pre-recorded musical tracks, it engulfs the senses and turns the melodies into grand, operatic arias. From its design standpoint, it has been maintained to perfection. The sets and costumes by the late Maria Bjornson are still a standout and enthralling as ever. Rest assured that the visual feast has not deteriorated or frayed.
The style of acting and singing is more operatic in nature than realistic for the stage. So the cast has its ups and downs. Sierra Boggess as Christine is an amplified singing nightingale. Norm Lewis, as the Phantom, has a great deep singing voice, but his Phantom is more a pitiable old man than a mesmerizingly menacing seducer and lacks the charisma to fill the stage, especially when he is not on that much. Jeremy Hays in the thankless role of Raoul is just there. As far as the supporting cast is concerned, you have to grade them on a cheese scale; from camembert to Roquefort to stilton. They do need a tighter rein; less broad, “over the top’ and more down-to-earth realism.
As a whole, The Phantom of the Opera is still a gem of a show, the last of its kind. It’s a link to the theatrical past when the shows were opulent and eye-popping. If anyone ever wondered what splendiferous shows of yesteryear were like, I would urge you to see Phantom.
Edited by Scott Harrah
Published June 26, 2014
Reviewed at performance on June 25, 2014
RETURN OF ‘LES MIZ’: Cast performs ‘One Day More’. Photo: Matthew Murphy
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LES MISÉRABLES
Based on the novel by Victor Hugo
Adapted by Trevor Nunn & John Caird
Music by Claude-Michel Schonberg
Lyrics by Herbert Kretzmer
Original French text by Alain Boublil & Jean-Marc Natel
Directed by Laurence Connor & James Powell
Imperial Theatre
249 West 45th Street
(212-239-6200), www.LesMiz.com/Broadway
By David NouNou
My word–yet another version of squalor and desperation to dream a dream on the streets of Paris and storming the barricades for one more day. Is there anything that can keep this musical away for at least a decade? After its resounding opening success in 1987, it ran for 16 years, which brought us to 2003. This was followed by an abysmal cheesy revival in 2006 that ran for a little over a year, ultimately generating a worldwide successful movie in 2012 that would of course spawn yet another revival in 2014. Now that’s a lot of misery.
What dubious distinction would this version possess that its predecessors lacked? Well, the spinning, revolving turntable set is now gone and replaced by digital backdrops imposed on the back wall based on Victor Hugo’s own drawings. This is supposed to give us a more realistic sense of atmosphere. Since the movie opened new venues from the stage version, current revivalists have to come up with new spins from the behemoth original version and cost cutting (whether downsizing the orchestra or cast) plays a big factor.
Just for stealing a loaf of bread, Jean Valjean (Ramin Karimloo) is sent to prison for 19 years. Upon release and trying to turn a new leaf and even assuming a new identity, he is dogged relentlessly for years by Javert (Will Swenson) his persecutor. He fulfills his promise to Fantine (Caissie Levy) on her deathbed, a former employee at his factory by rescuing her daughter Cosette (Samantha Hill) from the Thenardiers (Cliff Saunders and Keala Settle) and raising her as his own and wanting for nothing. . Through his many good deeds Valjean seeks and ultimately gains salvation, while Javert in his diabolical pursuit loses to his demons and ultimate demise. Amidst this saga is a failed student uprising that brings together Marius (Andy Mientus) and Cosette but brings Epionine (Nikki M. James) who worships Marius, heartache and claims her as the first victim of the revolution.
Ramin Karimloo possesses a stunning voice and is a worthy successor to Colm Wilkinson in the role as Valjean. His “Bring Him Home” is nothing short of heavenly. One does wonder though how much of it is his voice and how much of it is controlled by the sound engineer. Every song in the show is so amplified and echoed that is strips the majesty from the magnificent Schonberg melodies. This is a great shame because the score is the best written one of the last 30 years and it is undermined of its grandeur by injecting it with unneeded sound enhancement.
Will Swenson as Javert has complete command of the role and it’s very gratifying to see him in a role in which he is comfortable and is worthy of his talents. As for the rest of the cast, especially the younger set, what can I say? Instead of singing their parts as characters in the show, they have all learned the nasty habit of singing songs in the “American Idol” style, which is a great detriment to the show. This reinvention and unnecessary excessive humor injected (especially by the overripe Thenardiers) in the oddest of scenes is courtesy of the directors Laurence Connor and James Powell. They discarded the magnificently paced original direction by Trevor Nunn and John Caird and replaced it with their own underwhelming vision. I guess this is their contribution to appeal to a younger audience. En fin dacor, c’est tout.
Published April 15, 2014
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