The Long Road to Broadway

Review: Smash Season 2 Premiere

Jennifer Hudson and Katherine McPhee prove that once upon time, American Idol actually produced marketable talent.

NBC had a lot riding on Smash, the big, expensive musical drama about the creation of a Marilyn Monroe musical called Bombshell.  After a stellar pilot, the show somewhat undeservedly became one of the most mocked pieces of entertainment in pop culture, resulting in the firing of creator/showrunner Theresa Rebeck and several major cast members.  Following an extended hiatus to accommodate the show’s retooling, Smash has finally returned with a two hour premiere that largely resembles last year’s incarnation, although under the surface lurks a host of subtle but significant tweaks with the potential to radically increase the show’s overall quality.

Season two of Smash picks up right where season one left off, with the cast and creative team of Bombshell eyeing a Broadway transfer after a largely successful run in Boston.  Karen (Katherine McPhee) received glowing reviews for her performance as Marilyn, while critics also singled out director Derek (Jack Davenport) and composer Tom (Christian Borle) for their many contributions.  Unfortunately, the press wasn’t so enamored with Julia’s (Debra Messing) libretto, and the behind the scenes shenanigans that plagued Bombshell’s development now threaten to overshadow the final product.  Meanwhile poor Ivy (Megan Hilty) finds herself struggling to get back in Karen’s good graces after sleeping with the rising star’s boyfriend, a move that has caused the entire creative team to give her the cold shoulder.

One thing new showrunner Joshua Safran has repeatedly promised is that Smash 2.0 would focus more on the backstage drama and less on the character’s soapy personal lives.  The season premiere certainly supports that statement, with all unresolved interpersonal plotlines wrapped up by little more than a wave of the hand before new show-related conflicts are introduced.  While this is a welcomed bit of house cleaning, it eats up a large portion of the premiere’s first hour and makes that episode feel like a repeat of the misguided tonal shifts perpetrated under Rebeck’s guidance last year.  In fact, the first hour is so hamstrung by having to clean up last season’s mess that I’d wager the decision to have a supersized premiere was driven primarily by the network’s desire to trot out the second episode as a better example of what season two has in store.

The new storylines introduced during the premiere are actually quite interesting, and executed with a more consistent tone and pace than we’ve previously seen.  The Rebecca-inspired financial woes Bombshell encounters show promise, and illustrate that Eileen (Anjelica Huston) should really be more suspicious of her bartender boyfriend’s extensive bank account.  Having serial womanizer Derek hit with a succession of sexual harassment lawsuits is a stroke of genius that makes excellent use of the delightfully smarmy Davenport, and the addition of Jennifer Hudson as a Tony-winning actress/inspirational figure for Karen brings with it a welcomed dose of spunk and genuine star wattage.  (As expected, Hudson’s musical numbers are positively thrilling.)

But the storyline with the biggest implications for Smash’s future is the introduction of a competing musical being developed by struggling Brooklyn songwriters Jimmy (Jeremy Jordan) and Kyle (Andy Mientus).  It accomplishes the hat trick of providing a point of contrast by which to judge Bombshell’s progress, creating conflict by offering the possibility of key cast members jumping ship, and making Smash’s world seem more alive by not having Bombshell exist in the vacuum.  Bad-boy Jimmy also makes an intriguing love interest for Karen by virtue of being the only person who doesn’t immediately worship the ground she walks on, although right now the character is so aggressively off-putting it somewhat negates any narrative appeal he provides.

Speaking of Karen, the struggling artist from Iowa has emerged as the show’s most problematic character, a handicap made even more maddening by the fact that she is clearly intended to be Smash’s protagonist.  Her experience in Boston has replaced her wide-eyed naivety with an unearned sense of entitlement, resulting in diva-esque behavior that makes her increasingly hard to root for.  Karen now treats Ivy with the same disdain Ivy exhibited for poor, sweet Karen in season one, but whereas Ivy was eventually scolded and told to tone down her hatred the other characters are inexplicably willing to support Karen’s vindictiveness.  On the plus side, this has allowed Ivy to revert back to the insecure but likably ambitious woman she was in the pilot, becoming a much more compelling character in the process (and her budding friendship with Julia certainly doesn’t hurt matters).

Overall, the first two hours of this season of Smash give us a show that is slowly but surely recovering from the dark days of Bollywood-inspired fantasy numbers that marked season one’s low point.  The show still has its quirks, including an eye-roll inducing transition into a Derek-centric musical number and a couple of highly implausible plot contrivances (Karen is apparently the only actress in New York who still lists her physical address on her resume).  But many of last season’s most glaring problems are conspicuously absent – although I fear dearly departed Ellis may reappear further down the line – and replaced with a slicker, more coherent tale of backstage politics and rival projects.  The show has a vast untapped potential, and hopefully Safran and crew can harness it to create true must-see TV as the season progresses.

2012 Tony Predictions - Best Actor

Here we are at the end of the acting categories.  Before I start making Best Actor predictions, I want to remind you of my two caveats:  1) I have not necessarily seen all of the nominees; and 2) I am prediction who will win, which is not always the same as who should win.

Best Actor in a Play

Nominees:  James Corden, One Man, Two Guvnors; Phillip Seymour Hoffman, Death of a Salesman; James Earl Jones, The Best Man; Frank Langella, Man and Boy; John Lithgow, The Columnist

I don’t mean to sound disrespectful of their work, but as far as this season is concerned past winners James Earl Jones, Frank Langella, and John Lithgow are essentially also-rans in a two person Tony race.  Jones received solid reviews for his work in The Best Man, but that show is more of an ensemble piece than a star vehicle, and having a star vehicle is a virtual prerequisite to winning the Best Actor trophy.  Langella’s Man and Boy definitely qualifies as a star vehicle, but outside of his performance the production was dismissed by critics.  It also closed by mid-October and hasn’t been discussed since, leaving Langella without the necessary momentum needed to secure a Tony statuette.

John Lithgow is in a better position than either Jones or Langella, in that The Columnist is a currently-running star vehicle from a well-respected author.  Unfortunately, the deluge of late-April openings resulted in The Columnist getting lost in the shuffle, and many found the play to be serviceable but disappointing given the talent involved (Lithgow is a past Tony winner, and playwright David Auburn is a Tony and Pulitzer Prize winner).

That leaves us with James Corden and Phillip Seymour Hoffman, both of whom have a lot going in their favor.  One Man, Two Guvnors seems to be this season’s British Sensation, the imported new play that has critics practically falling over themselves to praise it.  Corden himself has received plenty of accolades his physically demanding performance, and recent Tony history shows a strong voter bias toward English-bred actors.  However, that same history also shows a bias towards big name Hollywood talent in revivals of classic plays, which perfectly describes Hoffman.  Death of a Salesman is one of the most critically and commercially successful productions of the season, something that couldn’t have been achieved without a commanding central performance.  While I haven’t personally seen Corden, I have trouble imagining him topping Hoffman’s devastating turn in Arthur Miller’s classic, and I suspect Tony voters will feel the same way.

Will and Should Win:  Phillip Seymour Hoffman, Death of a Salesman

Best Actor in a Musical

Nominees:  Danny Burstein, Follies; Jeremy Jordan, Newsies; Steve Kazee, Once; Norm Lewis, Porgy and Bess; Rob Raines, Follies

Unlike their play counterparts, the Best Actor in a Musical nominees are much more evenly matched.  There isn’t a clear-cut front runner, and an argument could be made for any of these fine actors to win the big prize. All of that said, I think we can safely rule out both Norm Lewis and Rob Raines.  I have always felt Lewis’ abilities as an actor have been underrated, and I’m happy to see him receive his first Tony nomination for his accomplished work in Porgy and Bess.  That said, his is by no means the strongest performance of the bunch, and he’s greatly overshadowed by costar Audra McDonald, who from day one has been at the center of all that particular revival’s press coverage. 

Similarly, while Rob Raines did some excellent work in Follies, it did not reach the giddy heights of his costar and fellow nominee Danny Burstein.  Unlike last year, when Andrew Rannells and Josh Gad were so equally matched in The Book of Mormon that they effectively canceled one another out, popular opinion has clearly favored Burstein over Raines.  Anyone who wants to see a Follies win in this category will certainly vote for Burstein.

Jeremy Jordan is technically nominated for Newsies, but I think it’s safe to assume his is a blanket nomination for both that show and his work earlier this season as one of the title characters in Bonnie & Clyde.  Jordan is the hot young talent of the season, and though his work in Newsies isn’t as psychologically complex or emotionally mature as his competition, it is everything you could reasonably expect in a lighthearted show whose sole purpose is to entertain.  The road producers who usually vote for more commercially viable fare will want to ensure Newsies ends up with enough wins to sound impressive in an ad campaign, and Jordan could easily reap the benefits of their Tony love.

Steve Kazee is something of a wildcard.  On the one hand, he is giving a very moving performance in the most critically lauded new musical of the season, and the buzz around Once certainly isn’t hurting his chances.  On the other, for whatever reason the critical love of Once doesn’t quite extend into recognition for its cast (Kazee and costar Cristin Milioti were both conspicuously absent from the Drama Desk nominee list).  Because it is a new work and not a known property, I think some people are overlooking how much of the show’s success is due to its leads, instead of being wholly generated by the very strong book and score. 

I’d say the two gentlemen most likely to hear their name called on Tony night are Danny Burstein and Jeremy Jordan.  Burstein deserves the award for his revelatory and heart-breaking performance in Follies, a production the entire theatrical community went gaga over last fall and will certainly want to see recognized.  Burstein’s role is the hardest of the show’s central quartet to make interesting, making it all the more impressive that he ended up being one of the best parts of that much celebrated production.  But Jeremy Jordan has had a star-is-born season, and the Tonys love to celebrate talented newcomers as much as seasoned pros.  As much as I loved Burstein (I've been saying he needs to win this award since September), I am starting to suspect that this is Jordan's year.

Will Win:  Jeremy Jordan, Newsies
Should Win:  Danny Burstein, Follies

That’s all for the acting awards.  The only predictions I have left to make are the production categories, so look for my picks for the season’s best revivals soon!

In the meantime, here are the rest of my Tony prediction articles in case you missed them:

Best Actress

Best Featured Actor
Best Featured Actress
Best Book and Score
Best Direction and Choreography

Tony Watch: Assessing the 2011-2012 Broadway Season Part 5

Broadway's Newsies prepared to karate kick the competition, thus ensuring it's place as King of New York

With only one week left before Tony nominations come out, we have to move right along with our assessment of this season’s shows.  First up:

Newsies

Disney claims that it never intended to bring Newsies to Broadway, and that they are just blown away by the support their show has received.  I think that’s bullshit, and is part of their clever plan to position the show as this season’s Tony underdog when it is actually the odds-on favorite. 

After all, the show has all the hallmarks of a Best Musical winner (a category it will assuredly be nominated in).  It’s an old-fashioned song and dance spectacle with just enough depth to keep adults engaged while omitting anything truly challenging or unpleasant, making it perfect family fare.  The Tony voters who are also producers of regional touring houses – a sizeable contingent of the total voting body – will want to capitalize on this appeal by awarding the show with as many statuettes as possible, allowing them to advertise the eventual tour as the “Tony-winning Broadway musical” and ensuring that it makes them a boatload of money.

If Once is this year’s Critics’ Darling, Newsies is the clear Commercial Success, which more often than not wins the big awards.  And while Newsies is in no way groundbreaking, it is constructed with enough competence to net Best Book and Best Score nominations among this year’s weak crop of new shows.  Christopher Gattelli’s athletic choreography, the production’s highlight, will surely be nominated and heavily featured during the show’s Tony telecast performance.  Another likely nominee is Tobin Ost’s for his multi-tiered set, inventively configured into an endless array of interconnected platforms and stairways over the course of the show.

The acting categories will be tougher for Newsies to crack, with one notable exception, whose name is Jeremy Jordan.  As newsboy Jack Kelly, Jordan is delivering a star-making turn that definitely land the gifted young performer a Best Actor nomination.  His onstage love interest, Kara Lindsay, would be wise to take a page from Nikki M. James’ book and submit herself in the supporting category, allowing her to avoid directly competing with Tony favorites like Audra McDonald and Kelli O’Hara.  If she does go the supporting route, her charming work should be enough to net this Broadway newcomer a Best Actress nomination, further strengthening the show’s real life Cinderella narrative.

The Best Man

This show’s Tony prospects are difficult to pin down.  Although many reviewers admitted the play’s subject matter remains topical, the consensus seems to be that we didn’t really need another revival of this work having just seen a production back in 2000.  In a crowded year for plays, that could be enough to knock the show out of the Best Revival race.

On the other hand, most critics jumped at the chance to see so many theatrical tyrants in one place, regardless of the quality of the material.  Any opportunity to see greats like Angela Lansbury and James Earl Jones practice their craft is cause for celebration, and the excitement of having them back onstage could lift the show into contention for the big prize.  Lansbury and Jones, both of whom have multiple Tonys to their name, will surely be nominated again in the Supporting categories.  And in such a busy season, two high profile nominations is nothing to be ashamed of.

End of the Rainbow

By all accounts, this play about the final months of Judy Garland’s life is nothing special, at least from a scripting standpoint.  Despite the Tonys’ love for all things British (this production comes straight from the West End), I think that disappointment is enough to keep End of the Rainbow out of the Best Play or Direction categories.  But from the time it was announced, this show has clearly existed only to highlight the extraordinary talents of star Tracie Bennett, who has generated the kind of raves most actors only dream about.  An assured Best Actress nominee, I think Bennett and her producers will be just fine with their single nomination.

Evita

Broadway was clearly ready for the return of Eva Peron.  Evita is currently doing stellar business at the Marquis Theatre, routinely landing among the top grossing Broadway shows alongside established mega-hits like Wicked and The Book of Mormon.  Critical reaction to the show proved mixed, although there were generally more positives than negatives, with Evita being deemed one of Andrew Lloyd Webber’s better works.  That should be enough, when combined with the show’s clear commercial potential, to earn it one of the coveted Best Musical Revival slots.

Leading lady Elena Roger is an awards conundrum.  Before the show opened, she seemed like a shoe-in for a Best Actress nomination; her performance was critically heralded in London, and Eva is certainly the kind of role that earns you awards consideration.  Unfortunately, Roger really isn’t up to the vocal demands of the role (more than one reviewer compared her singing unfavorably to Patti LuPone’s iconic belting), although she does have some lovely character moments.  I’m not ready to give Roger’s Best Actress nomination to someone else, although if her name isn’t among those called next Tuesday I won’t be terribly surprised.

Michael Grandage deserves a Best Director nomination for his expert staging of the piece, which unlike Roger did manage to avoid comparisons to the Broadway original.  And choreographer Rob Ashford has been nominated for much worse work than his work here, and a Best Choreography nod would be an excellent way to recognize its strengths.  Given the amount of money spent on this revival, the Sets, Lights, and Costumes are all viable contenders for nomination slots as well, as expensive physical productions always do well in those categories.  And finally, the always reliable Michael Cerveris will hopefully be rewarded with a Best Supporting Actor nomination for his excellent portrayal of Juan Peron, a role that would be utterly forgettable in a lesser actor’s hands.

Be sure to check back throughout the rest of this week for more Tony talk, and then again after May 1^st to hear my reaction to the big day.

For more a look at the other shows that opened this season and where they stand in the Tony rankings, check out these past articles.

Part 1

Part 2

Part 3

Part 4

The King of New York? Not Really

Review:  Newsies

Jeremy Jordan and the cast of Newsies

Confession:  I have never seen Newsies, the flop film from 1992 that has become a cult classic in the two decades since its release.  Which means that when I sat down to view the stage adaptation, currently playing to packed houses at the Nederlander Theatre, I did so without any preconceived notions about what it can or should be.  And while the show I saw was a perfectly acceptable musical comedy, I simply couldn’t comprehend how this pedestrian piece of entertainment has managed to earn itself such unadulterated love from so many people.

For those of you wondering what the hell a “newsie” is, the term refers to the young boys who used to sell newspapers back at the turn of the century.  Both the stage and film versions of Newsies are based on a real life newsboy strike that occurred in lower Manhattan during the summer of 1899, when publishing giant Joseph Pulitzer raised the price he was charging the titular newsies for the privilege of selling his papers.  Naturally upset about this, the newsies decided to unionize under the leadership of our hero, Jack Kelly, and went on strike.  In what is likely an embellishment of historical events, the rest of Newsies consists of much singing, dancing, and speechifying about fighting for your rights.

The stage Newsies features a new book by Tony-winning librettist Harvey Fierstein which does an admirable job of keeping the show moving along at a good clip.  While the one liners aren’t as funny as you would like them to be (a problem enhanced by the merely passable comic timing of most of the cast), the characters are reasonably well developed and the plot lacks any glaring holes.  And while realists may gripe about the way everything gets tied up into an unbelievably neat little bow at the end, it should be pointed out that they have come to see a Disney-branded property with all the attendant formulaic trappings.  The heavy handed morals can seem overly simplistic, but moral ambiguity and dark undertones aren’t exactly the hallmark of a family show.

Like the book, the songs by Alan Menken are perfectly fine and perfectly predictable, which most of the shows anthems sounding like extensions of the same basic song (apparently there are only so many ways you can harmonize a bunch of plucky street urchins).  The one notable exception is “Watch What Happens,” a solo for love interest Katherine, a character wisely inserted into the stage version to provide a periodic break from the newsies’ righteous indignation.  A budding journalist, Katherine is attempting to write a front page-worthy article about the newsboy strike, and Menken chronicles her thought process in one of the most inventive pieces of musical theatre character writing to surface in years.  Couple this material with Kara Lindsay’s winning portrayal of Katherine and you get one of the show’s most original and entertaining moments.

The cast is generally solid but features few standout performances.  Andrew Keenan-Bolger is suitably endearing as Crutchie, who as you might have guessed from his name is the adorable little orphan hobbling about the stage on one leg.  Ben Fankhauser brings some welcome level-headedness to the group as Davey, the newsies’ second in command, and John Dossett is just oily enough as Joseph Pulitzer to make an acceptable antagonist, even if he doesn’t achieve the scenery chewing outlandishness that’s the hallmark of the best Disney villains.

The one standout among the cast is leading man Jeremy Jordan, a natural-born talent with all the makings of a true star.  Jordan exudes charisma as the brash Jack Kelly, while displaying enough grit and determination that you legitimately believe he could challenge a business tycoon like Pulitzer.  With his dashing good looks and soaring tenor, generously showcased throughout the show’s runtime, Jordan elevates the show to new heights and is certain to be a mainstay in Broadway musicals for many years to come.

The other star of the show is Christopher Gattelli’s high-flying choreography, danced with such boundless enthusiasm by the show’s large ensemble that its energy is infectious.  It is a distinctly old-school style of Broadway dancing, fondly recalling the song and dance spectacles of yesteryear while adding more than enough stunts and tricks to appeal to today’s audiences.  The big group numbers are easily the show’s strongest, particularly the rousing Act II opener “King of New York,” which features all the newsies plus Katherine in an elaborately staged tap routine.  I couldn’t quite tell you what the *point* of said number was, but it sure as hell was entertaining to watch.

In fact, that is a perfect summary of Newsies in general:  pointless but highly entertaining.  Despite its repeated extolling of the virtues of unionization, at its heart Newsies is pure old-fashioned escapist entertainment whose only purpose is to help the audience forget its cares for a couple of hours.  On that front, Newsies succeeds, although don’t be surprised if you can’t quite remember what was so good about it once you leave the theatre

Review: Bonnie & Clyde

“Shocking” is the only word that can describe Bonnie & Clyde, the latest Broadway musical from much maligned composer Frank Wildhorn.  The shock doesn’t come from any surprise plot twist or provocative material, but rather from the fact that the same man behind infamously terrible shows like Wonderland and Dracula has miraculously produced a rather entertaining and welcome addition to the Broadway season.

As you may have guessed, the show concerns the famous titular outlaws, and chronicles their passionate romance from first meeting to final embrace.  The opening number does an excellent job of introducing young hooligan Clyde Barrow (played by Jeremy Jordan) and small-town waitress Bonnie Parker (Laura Osnes), simultaneously establishing their desires for fame and fortune while laying the groundwork for the tragic romance that will ultimately be their undoing.  Despite knowing the outcome (the show opens with the lovers dead, and the entire evening is essentially an extended flashback), you’ll find yourself caught up in their devotion to one another, from the fateful first meeting through prison breaks, crime sprees, and a government-led manhunt.

The production is blessed with a pair of extremely charismatic leads in Jeremy Jordan and Laura Osnes.  Jordan’s dashing good looks and golden voice make for an eminently charming Clyde, which he tempers with flashes of frightening anger and determination.  It’s a dynamic performance, believably charting one man’s descent from small-time criminal into murderous outlaw.  Laura Osnes’ Bonnie is equally winning, a perfect combination of schoolgirl innocence and fiery passion as she struggles to free herself from the confines of small-town life.  With Osnes’ radiant good looks and beautiful voice, you’ll find yourself as captivated by her as the nation was by Bonnie.

The show contrasts the couple’s proclamations of unyielding love with the more subdued but still heartfelt relationship between Clyde’s brother Buck and his wife, Blanche.  As played by Claybourne Elder, Buck is an affably endearing man struggling to better himself while continually being pulled in by the glamorous allure of his brother’s exploits.  Although the siblings’ duet “When I Drive” is one of the score’s weaker moments, the love and devotion between the pair is excellently conveyed through Elder and Jordan’s performances. 

As Blanche, Melissa Van Der Schyff provides the lone voice of reason among the central quartet.  Blanche has never cared for Clyde and his shenanigans, and it clearly pains her to see her husband making the same mistakes.  But rather than being an overbearing shrew, Blanche expresses her displeasure through sharp comic barbs, providing the some of the evening’s biggest laughs.  Although the character of Blanche is overwritten (she easily has as much stage time as either of the leads), Van Der Schyff is such a charming actress that she never wears out her welcome.

Overall, the show manages to avoid many of the mistakes made by past Wildhorn endeavors.  Although Bonnie & Clyde’s score still contains some of the powerhouse belting and overly dramatic key changes that are the composer’s hallmark, it doesn’t rely on them nearly as much as his other shows.  The folk-and-blues-influenced music does a wonderful job of establishing the show’s world while bridging the gap between pop and musical theatre.  The drama isn’t overwrought, and is leavened with a surprising yet welcome amount of comedy.

Most of the show’s problems stem from Ivan Menchell’s book.  Disturbingly light on subtlety, the book scenes are saved on more than one occasion by the various performers’ charms.  Menchell doesn’t spend quite enough time developing the initial connection between the two leads; Bonnie displays enough hesitation that it isn’t love-at-first-sight, but we never see what causes her the change her mind about Clyde.  The pace starts to drag during the police manhunt in the second act, and the show’s ending is a decidedly underwhelming finish to this larger than life tale.

But the good outweighs the bad, and Bonnie & Clyde proves to be the most pleasant surprise of the fall season.  A more than competent combination of comedy and drama aided by two immensely appealing central performances, the show effectively graduates Jeremy Jordan and Laura Osnes from rising talents to full-fledged stars.  It also proves that Frank Wildhorn really did have a good musical rattling around inside of him; he just needed to write some bad ones first.