The Best Shows of 2014: Part I

As 2014 draws to a close and the internet is inundated with "Best of the Year" lists, its time to add my humble voice to the cacophony with my annual "Best Shows of the Year" list. For those of you not familiar with how this list works, know that it is not meant to be a comprehensive or definitive list. It is limited to productions I have actually seen, so certain popular shows will be omitted. I have yet to see Beautiful, for instance, although all of the promotional performances make me think it wouldn't make my personal list anyway.

2014 was an interesting year for New York theatre. There were a lot of show I liked, but less I unabashedly loved than in 2013. There was still plenty of commendable work throughout the year, and part of the reason fewer shows felt like unqualified successes is because they tackled less conventional subject matter and storytelling methods (which I'll take over a safe, traditional production any day of the week). Below is the first half of my annual Top 10, with the remainder of the list to follow soon. 

Honorable Mention: Audra McDonald in Lady Day at Emerson's Bar and Grill

Audra McDonald truly disappeared into the role of jazz singer Billie Holiday, winning the acclaimed actress a well deserved and record breaking sixth Tony Award.

Lady Day at Emerson's Bar and Grill, Lanie Robertson's exploration of famed jazz singer Billie Holiday's life and career, is not a great play. The show is interesting because Holiday's life was interesting, but nothing about the play's writing contributes to more than a cursory understanding of the troubled vocalist's final days, performing in obscurity at rundown clubs. That said, Audra McDonald was a revelation in the work's recent Broadway revival, an utterly transformative performance that deservedly won the acclaimed actress her record breaking 6th Tony Award. As usual, McDonald somehow managed to exceed overwhelmingly high expectations to deliver a performance for the ages, one of the single best of I have ever seen. While the show's pedestrian writing keeps it from being Top Ten material, McDonald's performance was one of the most nuanced and entrancing of the year, and deserving of mention.

10) Pageant

The beautiful contestants of the Miss Galmouresse pageant at the center of Pageant.

In the pursuit of high art and a better understanding of the human condition, it can sometimes be easy to forget that theatre is primarily a form of entertainment. The Off-Broadway review Pageant, about a fictional beauty contest where all of the contestants are men dressed in drag, may not have been the most intellectual of evenings, but it was one of the most enjoyable 90 minutes I spent in a theatre last year. The extremely talented and versatile performers milked every bit of campy humor possible out of the premise, somehow making a spoof of beauty pageants feel relevant even when the format is long past its prime. The loose structure allowed the contestants plenty of chances to ham it up, but beneath all the shtick and broad caricatures they remained recognizably human, which only added to the show's appeal. Definitely an underrated gem of the summer/fall months.

9) If/Then

While there were plenty of strong performances in If/Then, let's be honest: Idina Menzel is the reason people are interested in this show, and the Tony winner delivers with what may be the performance of her career.

I can't understand why If/Then has gotten so much flack from the theatrical community. While the show is by no means perfect, it is one of the increasingly rare musicals not based on any pre-existing property that furthermore dares to ask big questions about life (as opposed to most of the successful musicals of the past few seasons, which are primarily meant to entertain). Perhaps the show suffered in comparison to Next to Normal, the groundbreaking Pulitzer Prize winner by the same creative team. And while If/Then doesn't match that show's emotional wallop, the concurrent narratives of Liz and Beth raise a lot of interesting questions about choice versus fate. Idina Menzel has never been better, easily topping her Tony-winning work in the megamusical Wicked 10 years ago and proving that she is one of the most formidable singing-actresses of her generation. The show's sagging box office numbers and Menzel's impending departure probably mean this show is on its last legs, so everyone who claims to support originality in the theatre really owes it to themselves to see this thought provoking new work before its gone. It may be flawed, but its heart is 110% in the right place, and I will take an ambitiously flawed show over a safely conventional one any day of the week.

8) Heathers

Off Broadway's New World Stages is generally where older shows go to extend their runs, but occasional the complex will birth exciting new works like the hilarious and inventive Heathers the Musial.

A darkly comic coming of age tale set in perhaps the worst high school of all time, Heathers proved to be a highlight of the crowded spring theatre season. Featuring a top notch score by Laurence O'Keefe and Kevin Murphy ("Candy Store" is one of the catchiest musical numbers of the year), Heathers' endlessly inventive writing was brought to life by an excellent cast of mostly unknowns. A vast improvement upon the film that inspired it, the musical managed to resolve most of the tonal issues that plague the source material without losing the story's edge, and somehow uncovered an emotional core underneath all the 80s slang and teen melodrama. Although the Off-Broadway production has long since shuttered, the show is already well on its way to achieving the kind of cult status shows like Rocky Horror and Reefer Madness enjoy.

7) Aladdin

Courtney Reed and Adam Jacobs appear to have literally leapt off the screen in Disney's Aladdin, one of the most sumptuous spectacles to grace Broadway this year.

20 years after Beauty and the Beast, Disney Theatricals finally got around to tackling the last major film from the company's early 90s animation renaissance, the Oscar winning 1992 comedy Aladdin. Recovering nicely from their last animated adaptation (the less than successful Little Mermaid), the company brought their trademark high production values and slick presentation to this story of a street rat who dreams of something more. Featuring a game cast (lead by James Monroe Inglehart's Tony-winning Genie) and fantastic direction/choreography by Casey Nicholaw, Aladdin is one of the most magically entertaining shows currently running on Broadway. Genuine showstopper "Friend Like Me" is one of the most elaborate, thrilling production numbers around, and the famed magic carpet ride is every bit as magical onstage as it was on film. An excellent option for families and the young at heart, tickets have been hard to come by, but are definitely worth the effort.
 

6) Much Ado About Nothing

Recovering from an uneven couple of years, the Public Theatre's Shakespeare in the Park presented a top notch (and free!) production of Much Ado About Nothing this past summer.

After a couple of less than stellar seasons (2012's Into the Woods was divisive to say the least, and 2013's Comedy of Errors and Love's Labors Lost were less than memorable), the Public Theatre's Shakespeare in the Park returned in top form with a fantastic production of one of the Bard's best comedies, Much Ado About Nothing. The always excellent Lily Rabe was perfectly cast as the tart-tongued Beatrice, and Hamish Linklater's Benedict made for a perfect comic foil. But while Rabe and Linklater were definitely the star attractions, the entire supporting cast was filled with excellent actors under superb direction by Tony winner Jack O'Brien. A truly magical evening that successfully ran the full gamut of human emotion in just two and a half hours, this production was an unadulterated delight from beginning to end. The lack of a marquee star or available theatre precluded a Broadway transfer, but this mounting of Shakespeare's comedy was as deserving of that honor as anything Shakespeare in the Park has produced.


And that's Part I of my list. Keep an eye out for Part II in the coming days, where I'll list my Top 5 favorite theatrical experiences of the year.

2014 Tony Predictions: Best Featured Actor

Today marks the first round of predictions for what I call the Big 12 categories (the 4 production and 8 acting Tonys handed out each year).  The reason I call them the Big 12 is they are generally seen as the most prestigious of the various Tony awards, and are the ones that are most likely to be bragged about in marketing materials and future Playbill bios.  In short, they seem to be the awards people care about the most, perhaps because they are the easiest ones for non-industry people to assess. 

 

Now normally at this point I would say "ladies first," but the fact of the matter is that the Best Actress and Featured Actress races this year are just more interesting and exciting, so I am saving those for later.  So without further ado, let's talk about this year's Featured Actor contenders!

Best Featured Actor in a Play

Actor Mark Rylance has publicly stated he doesn't believe in the use of microphones during live theatre, probably because he gets tired of doing a mic drop after every sensational performance.

 

Nominees:  Reed Birney, Casa Valentina; Paul Chahidi, Twelfth Night; Stephen Fry, Twelfth Night; Mark Rylance, Twelfth Night; Brian J. Smith, The Glass Menagerie

The obvious choice in this category is Mark Rylance.  A two-time Tony-winner who consistently receives critical raves, Rylance's take on Twelfth Night's love-struck Olivia was the talk of the town during the fall and winter months.  Rylance, choosing to emphasize Olivia's petulance and childishness rather than her regal nature, was responsible for more laughs per minute than any other performer this season, with a performance completely supported by Shakespeare's text while still feeling fresh and original.  Rylance certainly has my vote, and for months I've been convinced that this race was his to lose.

However, the fact that two of his hilarious costars also received nominations may cause vote splitting among Tony voters trying to choose their favorite actor from that all-male production.  If too many Twelfth Night fans decide to vote for Paul Chahidi (arguably the best Maria every) or Stephen Fry (a very funny Malvolio), it may allow Brian J. Smith to sneak in a surprise win for his portrayal of the pivotal Gentleman Caller in last fall's critically lauded The Glass Menagerie.  If Casa Valentina had more momentum behind it then Reed Birney might have a chance as a dark horse candidate, but I think critical affection for both Twelfth Night and Menagerie is simply too strong for Birney to overcome.  I'm still predicting a win for Rylance, but I won't be completely shocked if Smith is called up to the podium instead.

Will and Should Win:  Mark Rylance, Twelfth Night

 

Best Featured Actor in a Musical

You ain't never had a friend like Aladdin's James Monroe Iglehart, who has been bringing the house down 8 times a week during his showstopping rendition of the Oscar-nominated "Friend Like Me." 

 

Nominees: Danny Burstein, Cabaret; Nick Cordero, Bullets Over Broadway; Joshua Henry, Violet; James Monroe Iglehart, Aladdin; Jarrod Spector, Beautiful: The Carole King Musical

This race is much closer than Featured Actor in a Play, and there are several ways I can imagine it going.  I personally would consider Jarrod Spector the least likely winner, but at the same time the Tony voters clearly have a lot of affection for Beautiful.  As a two-time nominee Joshua Henry is automatically a more competitive than he would be otherwise; being nominated twice proves that the first time wasn't a fluke, and shows Tony voters clearly respect the up and coming performer.  But I just don't think this is Henry's year, which leaves us with three equally compelling candidates.

Aladdin's James Monroe Iglehart is one of the breakout stars of this Broadway season, stopping the show nightly with his fantastic rendition of "Friend Like Me."  Scene-stealing turns do quite well in the Featured categories, and the fact that Iglehart has made the role his own after Robin Williams' iconic work in the film version is mighty impressive.  But Bullets Over Broadway's Nick Cordero has been a consistent figure in every awards race this season, and has even won a couple of the guild awards for his gangster with a heart of gold (Cordero is also the center of his own big production number).  I wouldn't be surprised if he won, but I also have to handicap him since Tony voters are clearly less enamored with Bullets than some of the other awards-granting bodies.

And then there is the reliably great Danny Burstein, a Broadway stalwart who despite 5 career nominations has yet to actually win a Tony Award.  Burstein was robbed (ROBBED!) when Once's Steve Kazee won for his merely adequate Guy over Burstein's revelatory Buddy in Follies, and there is a building consensus among the Broadway community that it's about time the hardworking Burstein got his moment in the sun.  But Tony voters are even cooler towards Cabaret than they are towards Bullets, and I fear Burstein will be passed over once again.  I will give the edge to Iglehart, but Cordero is a strong possibility as well.

Should Win:  Danny Burstein, Cabaret
Will Win:  James Monroe Iglehart, Aladdin (which for the record would not be nearly as egregious as picking Kazee over Burstein in 2012)


Be sure to check back daily over the next two weeks to get all the latest Tony coverage.  Next up are the ladies competing for Best Featured Actress, followed by the Lead Actors and Actresses.  And you can catch up on the rest of my Tony coverage by checking out the links below:

2014 Tony Nominations React
Best Direction and Choreography
Best Book and Score



What Sould This Year's Tony Nominees Perform?

Remember that time NPH promised us via song and dance that Broadway is "not just for gays anymore?"  He was totally lying, but damn it was entertaining.

My annual predictions for this year's Tony winners are coming soon, so don't you worry your pretty little heads.  But before I dive down that rabbit hole, I thought I'd take a few minutes to write about something a little less serious (but still important): what songs should this year's nominated musicals perform at the big ceremony??? 

After all, the Tony Awards are a national platform where the nominated productions get "free" advertising via their 5-minute performance (rumor has it the shows actually have to cover the physical cost of the performance).  This is often the first and sometimes only exposure a show will get to people who live outside of the tri-state area, so a correctly chosen number can really help drum up interest in the current Broadway production - not to mention any prospective tours.  And as one of the few permanent records of the production, the Tony performance can end up being one of the only ways future generations can have any idea what the show was actually like.

Now, there are a host of considerations that can go into picking this performance, but 9 times out of 10 the answer is simple: go with the production's strongest number.  The one people talk about on their way out of the theatre.  Because the same qualities that make that number a talking point to audience members is going to make potential audience members want to buy tickets to the show.  I personally think it is a bad idea to save the best number for people who actually see the show live.  The Lion King cast performed the show's jaw dropping opening number (an artistic pinnacle the following two-and-a-half hours never quite match) and it certainly hasn't suffered because of it.  Because despite the prevalence of film and television, most people inherently understand that seeing something live is not the same as watching a video, and will gladly pay Broadway prices to be able to say they saw that impressive-looking production from the TV in person.

That said, the numbers get very little setup, so you want to choose something that is still enjoyable without a lot of background knowledge or emotional investment.  This can be a problem for more modern shows that consist mostly of musical scenes rather than traditional songs, as evidenced by Next to Normal's showing at the 2009 Tonys (which struck me as bizarre before having seen the show, but in hindsight is pretty freaking brilliant).  In general, big production numbers read better on TV - especially now that the Tonys are back at the cavernous Radio City Music Hall - and have the added bonus of letting the entire cast perform, which is nice for the performers.  But what if your show doesn't have a number that features everyone, or the big production number excludes the lead actor you really wanted to highlight?  The answer depends on what kind of numbers you have to choose from, although if your production has a name star who's likely to sell tickets you should probably focus on them. 

Now what if the best number of your show is the finale, and you don't want to spoil the ending?  Again, this depends on the show; if it is a plot based production then you should probably opt for something else, but if it's a character-driven comedy I say go ahead and do the finale, because that worked like gangbusters for Hairspray.  And finally, don't commit what I consider the cardinal sin of Tony performances: medleys.  Your 5-minute time slot is short enough without trying to cram several song arcs in there, and it almost inevitably leads to the performance feeling rushed.  Medleys only have a chance of being successful if the songs are exceedingly well know and aren't particularly character based; I would advise against them for everything except jukebox musicals.  For reasons I will never understand Matilda decided to do a medley last year even though those songs aren't known at all (and honestly, the music is one of Matilda's weakest aspects), and it ended up making the show look much weaker than it actually is.

So with those rules in mind, what should this year's nominees perform?  Here are some of my suggestions:

A Gentleman's Guide to Love and Murder - The strongest and most impressive number in the show is the operatic trio "I've Decided to Marry You," and I'm hoping that's what the producers go with.  The song is an excellent example of the Gilbert and Sullivan-esque charms of the score (melodically pretty with extremely witty lyrics), has a sense of fun, and showcases 3 of the 4 leads in a situation that can be easily set up with a one sentence introduction: Monty has two love interests, and they don't know about each other.  The only reason the producers might go against this is if they really want to showcase Tony-nominee Jefferson Mays (a frontrunner to actually win), in which case I suggest having the others sit this one out and doing "Lady Hyacinth Abroad."  The number is a great showcase for Mays and the show's off-kilter humor, and because it serves as that character's introduction is pretty self-contained.

Aladdin - This show is provoking very mixed reactions among industry folks; some people love it, and some think it fails to live up to Disney's high standards (those people are clearly ignoring Tarzan and The Little Mermaid).  But the one number that everyone agrees is spectacular is "Friend Like Me," and Disney would be wise to put their best foot forward.  There are a lot of props and set pieces involved in that number which would make it difficult to recreate at Radio City, but the effort would be worth it, just like it was worth it for Pippin to bring all that circus equipment last year.  If Aladdin does "Friend Like Me," I fully believe they will keep selling out for the next few years.

Beautiful - I haven't personally seen this show, so it's difficult for me to make a recommendation.  As a jukebox musical it could attempt to get away with a medley, although I think it would be a better idea to just put Jessie Mueller front and center and let her do her thing (especially since Carole King songs tend to be more about the entire composition and not just a catchy chorus).  I'd also pick something more uplifting, because this is at heart a tourist show and tourists have proven repeatedly over the years that they just want to be entertained.  Looking at the song list, "(You Make Me Feel Like) A Natural Woman" would probably be the best choice.

After Midnight - This show would actually benefit from a medley in my opinion, and that's what they should do.  Have Fantasia sing a verse and chorus of one of her solos (maybe "Stormy Weather"), then kick things into high gear with a big production number.  Tap dancing is always impressive on the Tonys, and I would definitely recommend something that allows the band to shine as much as the performers.  But don't go crazy with the number of songs; I'd say pick 2 to 3 and knock them out of the park.

Violet - This show has a problem that is becoming more prominent as shows get better about integrating music and story; none of the songs jump out at you as a stand-alone piece.  There are a lot of loooong musical scenes that would have to be cut down (and likely loose some coherence), and the biggest production number (the gospel anthem "Raise Me Up") doesn't involve any of the Tony-nominated stars.  I think the best choice would be "All to Pieces," featuring the main trio of Sutton Foster, Joshua Henry, and Collin Donnell.  It also has the added bonus of being an uptempo song, which is always an easier sell in these types of situations.

Les Miserables - I am very afraid the Les Miz producers will decide these songs are well known and attempt a medley of power ballads, which would be a disaster.  The performers can barely find the emotional grounding to sell the songs in the context of the show; with only a brief snippet to work with I feel like the songs would just become noise.  The obvious choice is for them to do "One Day More," but as their Good Morning America performance proved that number highlights some of the more questionable casting in the show.  If the producers are smart, they will sit Tony-nominee Ramin Karimloo center stage and let him sing "Bring Him Home," the one number universally singled out by critics as a highlight.  Karimloo has the stage presence and vocal chops to fill even the massive Radio City Music Hall, and it will make the revival frankly look better than it actually is.

Hedwig and the Angry Inch - I would advise the producers to take a page out of the Patti LuPone-led Gypsy playbook and allow star Neil Patrick Harris to monologue a bit before breaking into song.  Hedwig is a freeform piece and it would be nice for Harris to be able to communicate some of that feel before belting out one of the show's rock anthems.  We know Harris has the charisma to command such a large venue, and as a likely winner it will be nice to have some record of what his whole performance encompasses.

There are several other currently running shows that aren't nominated, and five years ago that would have meant they wouldn't perform.  But the past few years the producers of the actual Tony Awards have shown willingness to let unnominated but worthy (or not) productions perform, so who knows?  Given her increased profile thanks to Frozen and the infamous Adele Dazeem incident, it would seem silly not to feature Idina Menzel and If/Then in some capacity, especially since that show has actually been one of the better sellers of this spring.  (But then again, it's clear that Menzel suffers from horrible awards-show nerves, so letting her sing would be a risk.) 

Since it didn't snag a nomination and is closing next weekend, I've given up hope that The Bridges of Madison County will be allowed to perform, but since the producers are (shockingly) mulling over a tour maybe they'll get Kelli O'Hara and Steven Pasquale to blow everyone's mind with the rapturous "One Second and a Million Miles."  I don't see the point in having Alan Cumming perform "Wilkommen" on the show again, but I wouldn't mind it if Cabaret let the divisive but undoubted box-office draw Michelle Williams perform one of Sally's big numbers ("Mein Herr" would work better on the telecast, but the title song would involve less work on the production's part).

That's my thoughts on this year's nominees.  And now, I leave you with what is probably the single greatest Tony performance of all time, Jennifer Holiday in Dreamgirls:




What songs do YOU want to see performed on the Tonys?

Disney Works Its Magic Again

Review:  Aladdin

Rumor has it that there is one sequin in the Genie's costume for every million dollars Disney expects to make off this show.

After adapting Beauty and the Beast, The Little Mermaid, and The Lion King into stage musicals with varying degrees of success, Disney has finally gotten around to giving Aladdin, the sole unadapted film of it's early 90s renaissance, the Broadway treatment.  And in a feat of theatrical magic, this new musical comedy manages to strike the perfect balance between honoring its source material and reinventing it for the stage.  Moreso than any previous Disney musical, Aladdin's additions to the source material feel organic and necessary rather than tacked on and superfluous, meshing seamlessly with everything that made the film an instant classic.  The slick, sparkling production currently wowing audiences at the New Amsterdam Theatre is guaranteed to make you feel like a kid again, with the kind of eye-popping production values only Disney-level money can buy.

For those who have somehow avoided the Oscar-winning film these past twenty years, Aladdin tells the story of the titular "street rat" who steals to survive while dreaming of something more.  A chance encounter with the strong-willed Princess Jasmine leaves Aladdin head over heels in love with her, but the law of the land states that only a prince may marry the princess.  When Aladdin comes into possession of a magic lamp, the wisecracking Genie who lives inside promises to grant him three wishes, giving Aladdin everything he needs to make his dreams come true, provided he can keep the lamp out of the evil Jafar's power hungry hands.

The musical adheres closely to the film's structure, while also incorporating material that was cut during its development.  Aladdin is now accompanied by three fellow thieves named Babkak, Omar, and Kassim, who serve as both sidekicks and foils for our hero while providing plenty of comic relief.  (Unfotunately, Aladdin's simian sidekick Abu hasn't made the transition from screen to stage, although he is cleverly referenced during one of the show's many production numbers.)  The stage show also attempts to beef up Jasmine's character with a few extra songs and some token dialogue about strong, independent women, although this material doesn't add any layers to the character that weren't already present in the film.  All of the changes and additions to the narrative are well-realized and cleverly integrated in Chad Beguelin's well-written if workmanlike book, which also faithfully recreates all of the film's most iconic moments.

The movie's songs by Alan Menken and the late Howard Ashman are all present, often in expanded arrangements that sound fantastic.  "Arabian Nights" has been transformed into a magnificent choral number that sends chills down the spine, while "Friend Like Me" and "Prince Ali" have been given swinging jazz makeovers.  The show also includes the beautiful ballad "Proud of Your Boy," originally written for the film but cut from the finished feature, which acts as a constant touchstone for the character of Aladdin during its many reprises.  There's also a rollicking production number called "Babkak, Omar, Aladdin, Kassim" and thrilling swashbuckling tune called "High Adventure."  All of the new music by composer Alan Menken (with additional lyrics by bookwriter Beguelin) meshes perfectly with the pre-existing tunes, even if none of them quite reaches the heights of the film's original seven.

While the material for the show is strong, the direction and production values are stronger, and they are what truly propel Aladdin into must-see territory.  Director/choreography Casey Nicholaw helms the production with an unbridled joy for the material that is positively infectious, with choreography and staging to match.  As he proved with his work on The Book of Mormon, Nicholaw knows his way around a production number, and his continually slick choreography builds each dance to an ecstatic crescendo.  His playful work on the aforementioned "Babkak, Omar, Aladdin, Kassim" turns a number obviously created as filler into an early highlight, and Act II opener "Prince Ali" is equally sumptuous.  But the crowning jewel of this production is Nicholaw's elaborately staged "Friend Like Me," a legitimate showstopper with a dazzling array of inventive dancing, magic tricks, sight gags, and even fireworks (that's right, fireworks).   The thunderous applause that greeted this number on the night I saw the show was wholly earned, and it simply must be seen to be believed.

Of course, Nicholaw isn't working in a vacuum, and the resplendent production design goes a long way towards making Aladdin such a beauty to behold.  Gregg Barnes' costumes contain an entire season's worth of beading and sequins, and his saturated color pallet perfectly encapsulates the show's exotic locale.  Barnes' work is so strong that Nicholaw is able to structure "Prince Ali" around a literal parade of costumes, and the multiple costume reveals throughout the show are a joy to behold.  Set designer Bob Crowley takes something of a back seat to Barnes, but his work is equally impressive, especially in conjunction with Natasha Katz's lighting design.  The particular combination of lighting and set design during "A Whole New World's" iconic magic carpet ride is stunning in its simplicity and beauty.  All told, the production design of Aladdin is the most outright gorgeous of any musical of the past five years.

Performance-wise the show is more of a mixed bag, with the slickness of the production and the acting sometimes hindering the expression of genuine emotion.  Adam Jacobs makes for a dashingly handsome Aladdin, with a golden voice that sounds particularly lovely on "Proud of Your Boy."  He has the character's roguish charm down pat, but unfortunately he isn't given a lot to work with by the beautiful but sometimes wooden Courtney Reed as Princess Jasmine.  Their chemistry is decidedly lopsided in Jacobs' favor, although they sell the Oscar-winning duet "A Whole New World" with aplomb.

The supporting characters are another story entirely, bringing down the house thanks to the artistic freedom of not having to carry an entire show.  James Monroe Iglehart's riotous performance as the scene stealing Genie provides the evening's biggest belly laughs, and his high energy charisma gives the enormous production numbers a much-needed jumping off point.  Jonathan Freeman, the original voice of Jafar from the film, recreates the villain for the stage with the kind of gleefully bad behavior and shameless scenery chewing that is the hallmark of a good Disney villain.  Freeman is ably matched by his cohort in crime, Don Darryl Rivera's hilarious Iago (who is no longer a parrot, but still Jafar's abrasive sidekick), and the duo's comic timing is impeccable.  It's a shame the pair doesn't have more stage time, but they make what they have count.

Few shows arrive on Broadway with such lofty expectations as Aladdin, and thankfully the production delivers on almost all fronts.  Alan Menken's Oscar-winning score sounds more glorious than ever, and Chad Beguine's book recreates all of the iconic moments from the film while seamlessly adding a plethora of new material.  Expertly staged by the preternaturally gifted Casey Nicholaw, the game cast turns out showstopper after showstopper, although occasionally the show's heart gets lost in the shuffle.  Furthermore, the show is unabashedly, breathtakingly gorgeous in a way few shows are allowed to be anymore, making it a feast for the eyes and ears.  Aladdin is a surefire blockbuster, and will make even the most jaded of theatregoers feel like a kid again, if only for a few fleeting hours.

Most Anticipated of Spring 2014

Idina Menzel and the cast of If/Then.  You just *know* she's belting her face off.

Now that we are officially in 2014, it is time to start looking forward rather than back (which I did in my two Best Of 2013 posts as well as my Worst Of list).  There are 20 new productions opening on Broadway this coming spring, and somewhat surprisingly they are evenly divided between plays and musicals.  Any new Broadway show is cause for celebration, but naturally there are some shows that I'm looking forward to more than others.  So here, in no particular order, are the productions I'm most excited to see in the coming months.

Aladdin

Full disclosure:  Aladdin has always been my favorite Disney film.  I have been hoping for a stage adaptation for the last 10 years, and I will finally get my wish when the show arrives on Broadway in March.  I'm not sure exactly how they'll translate the film's magic to the stage (the Genie's mile-a-minute dialogue and transformations seem like a particular challenge), but 16 years ago no one thought they could make The Lion King work and that show has gone on to gross $1 billion on Broadway alone.  I have full faith in the technical prowess Disney's money can buy, and I also have supreme confidence in the musical comedy chops of director Casey Nicholaw, whose work on The Book of Mormon remains the greatest example of sustained hilarity in the new millennium.  Final bit of disclosure: I bought my orchestra tickets to this show last month. :-D

The Bridges of Madison County

I have zero knowledge or particular interest in either The Bridges of Madison County novel or the film version starring Meryl Streep and Clint Eastwood.  But I do have extensive knowledge and admiration for the musical career of composer Jason Robert Brown, who is scoring the musical adaptation set to begin previews on Broadway in a couple of weeks.  Brown is one of the smartest pop-influenced composers working in the theatre, and I have no doubt his score will be a marvel to behold.  The fact that he has enlisted Kelli O'Hara to take on the lead female role makes the entire enterprise even more exciting, as she is one of the most gifted singing actresses of her generation.  Add in the fact that Tony-winner Barlett Sher is at the helm and has described the score as the best one he's ever worked with (remember the Sher introduced the world to Adam Guettel's rapturous Light in the Piazza) and you have the makings of a theatrical event.

If/Then

10 years after her Tony-winning turn in the smash-hit Wicked, Idina Menzel finally returns to the Broadway stage in If/Then.  That information alone would be enough to pique my interest; the fact that the show is written by Next to Normal's Tom Kitt and Brian Yorkey, who crafted one of the most fascinating musical dramas of the past decade and wrote an incredible diva role for eventual Tony-winner Alice Ripley, shoots this towards the top of my must see list.  Menzel has some able-bodied support in costars like LaChanze (whom I adored in The Color Purple) and fellow Rent alum Anthony Rapp, and the incredibly talented Michael Grief directing her.  All the ingredients for theatrical magic are there, and I cannot wait to see what this team has come up with.

Violet

Two words:  Sutton Foster.  Foster is one of the select few performers who can prompt me to buy a ticket based on her name alone, as she has never been anything less than stellar in every show I've been privileged enough to see her in (even when the actual shows left me cold, as was the case with Little Women).  She has one of the purest belts in the contemporary theatre, along with the acting chops and sheer charisma to hold your attention even when she isn't singing.  And while I know almost nothing about Violet, which had a very brief Off-Broadway run in the 1990s, everyone I know who has actually heard the music raves about it.  Composer Jeanine Tesori also has the distinction of having written Thoroughly Modern Millie, the show that shot Foster to stardom and her first Tony Award, so seeing the two reteam on this new project is doubly exciting.

Rocky

I am in no way, shape, or form convinced that this adaptation of the Oscar-winning film will actually work as a musical.  In fact, it could be a disaster of epic proportions.  But Stephen Flaherty and Lynne Ahrens wrote one of the greatest musicals of all time (if not THE greatest) in Ragtime, and the rest of their catalogue is equally lovely.  The pair are also famous perfectionists, constantly rewriting and revising their shows in an effort to make them as good as they can possibly be, so I have to believe that there was something about Rocky that drew them to the project.  Good or bad, I think Rocky will be one show the entire industry is talking about come spring, and I want to see it firsthand.  Whether I leave praising its triumphs or deconstructing its missteps remains to be seen.


I wish I could say I was excited about the plays that are opening this spring on Broadway, but the truth of the matter is none of them grab me the way the above musicals do.  Like everyone else, I was blown away by Bryan Cranston's performance on Breaking Bad, and I fully believe he will make an excellent stage actor, but the out-of-town reviews for All The Way were lukewarm (many critics felt the play was too long and unfocused).  I personally thought Denzel Washington was overrated in Fences a couple of seasons back, so the idea of him doing A Raisin in the Sun doesn't thrill me.  And while I find the idea of Debra Messing starring in a comedy by Pulitzer-winner John Patrick Shanely appealing, it isn't a must see for me.  I *am* excited to see Alan Cumming reprise his Emcee in the Roundabout's remounting of their Tony-winning Cabaret (since I missed it the first time around), but at the end of the day they are just dusting off a production from 15 years ago that may or may not still feel relevant.

What are you most looking forward to for the coming spring season?  Feel free to let me know in the comments.  And look for reviews of as many of the spring shows as I can get to in the coming months.