"Next To Normal"

Don't look surprised to see two of these in a row, I warned you yesterday. Added to the fact that I essentially wandered into this show horribly ignorant of how long it's been playing and the accolades it's achieved, and you can only imagine how blown away I was by this incredible musical.

Telling the story of a family's struggle to contend with a mother's bipolar disorder, coupled with paranoia, and any myriad of her additional personal demons, "Next To Normal" won a handful of Tony Awards in 2009, including one for Best Original Score (Music and/or Lyrics) Written for the Theater. In addition, this musical won  the 2010 Pulitzer Prize for Drama. I know, what'd I tell ya?

The cast is this show is nothing short of breathtaking. yes, I'm seeing it at the end of its run and yet most theater goers in New York and in Los Angeles - where the show plays simultaneously - already know everything that I am saying. But, truly, I was thrilled with these actors. Marin Mazzie's portrayal of "Diana", the mother/wife trying to hold together her family and her life, is absolutely stunning, as was Jason Danieley's portrayal of father/husband "Dan". The children of this family, portrayed by Meghann Fahy and Kyle Dean Massey were equally exquisite. All possessed voices for days, and brought their characters to life with seeming ease and understanding.

Granted, these singing chops could have easily fallen flat had it not been for music and scoring by Tom Kitt. This is a moving and electric soundtrack - contemporary without a doubt, and requiring of actors whose singign abilities are as strong as their acting chops. Brian Yorkey's story and lyrics weave together an emotionally-wrought and heartbreaking story that is set to beautifully to such music.With a clever three-tiered design created by Mark Wendland, an occasional rock sentiment created by Kevin Adams' lights, it took a director as talented and experienced by Michael Grief to bring this show to life, but surely he could not have done so without such an incredible team.

For once I am posting a review while there's still a little time to see the actual show, so get down to the Booth Theater at 222 W 45th Street, and check it out for yourself! I got an SRO ticket for only $26.50, and the show was so mesmerizing that standing was a non-issue, I assure you.

Promises, Promises

Apologies for abandoning you all on Friday. I had just seen the thoroughly enjoyable "Promises, Promises" the night before so I certainly had something to post on, but alas, I simply refused to do any work. Instead, I laid around in my room, enjoying the sunshine and a new Weepies CD, until I left to start my New Years Eve festivities. A tremendously relaxing way to prepare for the New Year. And now, onto the show at hand!

"Promises, Promises" may not be known to some of you, but it is where Burt Bacharach favorites like "I Say A Little Prayer" and "I'll Never Fall In Love Again" originated, and the songs stood up to the test of time in this musical revival. I won't lie to you and say that I would have seen this show even without the superstar cast, but let it be known that they did not disappoint.

While Kristen Chenoweth's turn as "Fran Kubelik" is, unfortunately, one I was unable to see, Sean Hayes' "Chuck Baxter" was tremendously entertaining. Hayes' singing voice stronger than anticipated and his physical comedy skills - called to action most prominently in his role of "Jack" in TV's long-running "Will & Grace" - were excellently captured in this role. I was also lucky enough to catch Molly Shannon's turn as "Marge MacDougall" which did not disappoint. Dick Latessa's "Dr. Dreyfuss" was truly delight to behold in all his scenes, and Tony Goldwyn brought "J.D. Sheldrake" to life with a lovely voice and smarmy charm. There truly was no weakness in this cast, and all should be proud to have been a part of such a show.

Creating the stage on which these actors shined, Scott Pasks' set design was excellent. A delightful combination of "The Flintstones" with every 60's game show imaginable, the backdrops and furniture were simple but perfectly created the necessary locales. Couple these physical sets with Bruce Pasks' costumes and this show easily took the audience back to 1960's New York.

I am sorry that the show has now closed - these little reviews of mine seem to come at the very worst times! And they will continue to do so, as I rang 2011 in by treating myself to 2 shows this weekend. Sorry, I can't see a show and not share my glee with someone. Now that my theater buddies have been left across the country, you guys are it.

We The Corporate Personhood 10 Minute Play Fesival; Series A

Quite by chance I stumbled across an Internet smattering of affordable theater outings in New York City - embarrassingly I've since lost the various websites. The only event for which I managed to make a reservation was a production by collaboration between the Horse Trade Theater Group and the Subjective Theater Company, and presented in two different series. Part A was last night and it was a very satisfying theater tasting.

"Seward, Kansas", written by Matthew-Lee Erlbach and directed by David F. Chapman starred Josh Bywater and Annie Newhall in a well-crafted post-apocalyptic tale. Perhaps a little light in the face of such adaptations as McCormac's "The Road" for the big screen, these two actors lit up the stage, even while I wish each character could have been fleshed out considerably.

"Light Sweet Crude", written by Melisa Tein and directed by Nicole A. Watson starred Kathleen Choe, Khris Lewin, Ajay Saptute and Cotton Wright and was a clever take on the Deep Water oil spill that devastated the Gulf Coast so recently. A little heavy-handed on the corporate greed vs. working man struggle, it struck me that the oil spill was perhaps more a conveniently rage-inducing disaster than a well-plotted intent. Still, Khris Lewin seemed to take the most steps towards an arc for his character.

"The Thrilling Comedy of the True Beneficiaries of the 14th Amendment". written by Julia Holleman and directed by Steve Gillenwater, and starring Erin McCarson, Brian Whisenant and Toby Levin, is self-descriptive in its titling and was a very clever take on a seemingly never-ending political struggle. I felt Erin McCarson shined the brightest in this performance, creating a refreshingly stereotyped character which still possessed soul and drive.

The final play of the night, "They Think Our Favorite Color is Green", written by Patricia Ione Lloyd and directed by Pat Golden was truly a wonderful choice as grand finale for the night. Starring James Holloway, Anthony Gaskins and Franck M. Juste, this story touched on race relations, male bonding, culture, and friendship in an easy, casual way. Honest and simple, I felt that this play fit beautifully into the tight time constraints this festival placed on itself, the relationships felt real, the characters were embraceable in their own presentation, and the friendships were incredibly believable.

According to their program, the Subjective Theater Company "is dedicated to presenting socio-political theater at no cost to" audiences. As such, the fact that the show consisted of 4 short plays presented in quick succession made it perfectly reasonable. Add to this the fact that these 4 plays were good, engaging productions with strong, if quick, storylines, and you have a theater festival I would recommend to all.

Broadway baby

I hope this morning finds you dry and warm! I was caught in the deluge last night, no 'brella, no coat. Typical newbie. But how thrilling thunderstorms are.

In other news, I was fortunate enough to get to take in my first Broadway show as a resident of New York City on Wednesday night, and what a fabulous show I chose to be my initiation.


"A Little Night Music", surely one of Sondheim's many great works, is playing currently at the Walter Kerr Theater, and this staging is truly incredible. With its replacement cast taking over for the mesmerizing Angela Lansbury (what I wouldn't have given to see her!) and the questionable Catherine Zeta-Jones, I was able to see live, in all their glory, both the breathtaking Bernadette Peters and the inimitable Elaine Stritch. Can you believe it?!


Honestly, if you're a student you can see the show for reduced prices, and I would have paid a ridiculous sum because this show is tremendous. The interviews, reports and reviews haven't been wrong - Bernadette and Elaine have a fabulous repore together, and bring Sondheim's music splendidly to life.

So really, what's a little storm compared to that much glitter?

"A Little Night Music" is playing at the Walter Kerr Theater, 219 W 48th St., NY, NY 10019
http://www.nightmusiconbroadway.com/