"Hello" Bette, in a Truly Divine "Dolly"

Review: Hello, Dollly!

Bette Midler in the iconic title song from Hello, Dolly!

They just don't make them like this anymore. That old adage applies to both Hello, Dolly!, the Jerry Herman-Michael Stewart penned musical currently being revived at the Shubert Theatre, and most especially to star Bette Midler, appearing in a Broadway musical for the first time in 50 years. Midler possesses a luminous star quality the likes of which few performers can equal, and exudes it so naturally and effortlessly that she appear to glow from within. In the title role of this first class revival, Midler delivers the sort of legendary star turn that will be remembered for years to come, a must see theatrical event that has already set tongues wagging and ticket prices soaring. And Midler is worth every cent.

The plot of Hello, Dolly! finds professional matchmaker (and dance instructor, and makeup consultant, and a host of other eclectic professions) Dolly Gallagher Levi looking for a suitable wife for the well known "half a millionaire" Horace Vandergelder. Throughout the course of one extremely busy day, Dolly's meddling manages to find suitable mates for Vandergelder's niece Ermengarde, his shop attendants Cornelius Hackl and Barnaby Tucker, and last but not least Dolly herself. In all honesty, the farcical plot is of secondary importance to Herman's immortal songs and Midler's performance, and falls apart upon closer inspection. But you'll be far too entertained by Midler and the rest of this sparkling production to care.

It cannot be overstated how much Midler brings to the title role, so long associated with original star and theatrical icon Carol Channing. The award-winning actress and recording artist has such mastery over the show's particular brand of comedy that she elicits belly laughs with the merest gesture or change in inflection. A spritely presence with a mischievous twinkle in her eye, Midler sends an electric energy over the footlights and into the rafters, demanding your full attention lest you miss whatever piece of comic genius she has cooked up next.

Midler is so good that one of the highlights of the show involves neither dialogue nor music, but watching the Divine Miss M (as her fans have dubbed her) devour a turkey leg, some dumplings, and a boat a gravy. The specificity of intention and attention to detail sells this and every other moment of Midler's performance, which feels both tightly honed and spontaneous all at once. Just when you think you've seen every trick in her arsenal Midler produces a new one, including genuine pathos in her conversations with her dearly departed husband, Ephram. These moments provide a level of emotional stakes to the piece that is unexpected yet wholly welcome, grounding the show and Dolly before switching back to side splitting musical shenanigans.

Midler's performance would be worth the price of admission alone, making the fact that the rest of the production is such a joy feel like a bonus. Director Jerry Zaks and choreographer Warren Carlyle have polished this old warhorse of a show to a brilliant shine, embracing the piece's old fashioned charms rather than trying to dress them up with modern bells and whistles. Santo Loquasto's sets are the kind of beautifully painted, stylized backdrops that haven't been seen on Broadway in years, demonstrating that for all the technological razzle dazzle of projections the old ways of doing things remain surprisingly effective. When Midler makes her entrance in a carriage drawn by a "horse" that is clearly two dancers inside of a costume, the old fashioned stagecraft makes the moment more memorable, not less. (And the way Midler graciously acknowledges the thunderous applause which greets her while staying in character is yet another testament to her unparalleled professionalism.)

Loquasto has also designed jaw droppingly gorgeous costumes, a pastel potpourri resplendent in detail and tailored to perfection. They are so entrancing that "Put On Your Sunday Clothes" becomes a breathtaking showstopper despite the fact it is literally just a parade of costumes. His staging for songs such as this and the opening "I Put My Hand In" shows that Carlyle knows the value of precise, minimalist movement, but he's also more than capable of having the ensemble leap and twirl their way through big productions like the appropriately titled "Dancing" or "The Waiters' Galop." Zaks keeps just as tight a handle on the book scenes, giving the production such buoyancy and pep that it flies along and ends far before you want it to.

And while Midler's performance is the headlining attraction, her costars are all first rate. David Hyde Pierce, decked out in mutton chops and an authentic Yonkers accent, is delightful as the cantankerous Vandergelder, particularly during his Act II opener "Penny In My Pocket." As Cornelius and Barnaby respectively, Gavin Creel and Taylor Trensch are a riot, clowning around in high fashion during their small town clerks' big city adventures (rarely has the word "pudding" been so hilarious). Kate Baldwin sings like a dream and mugs with the best of them as hatshop owner and object of Cornelius' affections Irene Malloy, and newcomer Beanie Feldstein is equally winsome as her assistant Minnie Fay. So deep is this production's roster of talent that they landed Tony-nominee Jennifer Simard for a side splitting single scene turn as Ernestina, Vandergelder's crass date to the fanciest restaurant in town.

Simply put, this is as good a production of Hello, Dolly! as you are ever likely to see, an unadulterated delight from start to finish. Everything about this loving tribute to Broadway's Golden Age is done at the highest possible level, a pure joy that will have you exiting the theatre humming the tunes and dancing on air. Midler's performance is one for the history books, joining the ranks of all time great star turns thanks to her talent, tireless work, and megawatt star quality. When she descends that grand staircase to the opening chords of the title song in Dolly's signature red dress and resplendent feathered headpiece, it is as if time stops, and you don't just agree but inarguably know that Midler, like Dolly, is truly back where she belongs.

2014 Tony Predictions: Best Direction and Choreography

It's that time of year again.  With the 2014 Tony nominations announced and the awards ceremony set for Sunday, June 8th, all of Broadway is buzzing with speculation on who will win Broadway's highest honor.  Well, add my voice to the cacophony, because it's time once again for me to give my semi-educated opinion on who is most likely to win on Tony Sunday.  As in past years, I will be focusing primarily on what I call the Big 12 awards (Musical, Play, Revival, and the 8 acting categories), along with Direction, Choreography, Book, and Score. 

Through a time-honored combination of first hand experience, industry scuttlebutt, and gut feeling, I will be naming both the person or production I think most likely WILL win, along with who I think SHOULD win.  These two unfortunately do not always overlap; I am still upset with how the 2012 awards went down, particularly Best Actor in a Musical (Danny Burstein was ROBBED!) and Best Revival of a Musical (Follies was perfection).  Hopefully the voters will be a little more just this year, although without a clear front-runner in most of the categories I have a feeling we're in for at least one off-the-wall winner.  Now without further ado, let the predictions commence!

Best Direction of a Play

Stephen Fry has died of laughter, a common occurrence for audience members of Tim Carroll's all-male Twelfth Night

 

 

Nominees:  Tim Carroll, Twelfth Night; Michael Grandage, The Cripple of Inishmaan; Kenny Leon, A Raisin in the Sun; John Tiffany, The Glass Menagerie

 

 

It sure was nice of the Tony nominators to recognize Michael Grandage and Kenny Leon, but the idea that either one of them is in contention for the actual award is slightly ludicrous.  Leon's work on A Raisin in the Sun has drawn mixed reactions (once again, he has coaxed phenomenal performances out of his actresses while neglecting his central actor), and despite its 6 Tony nominations The Cripple of Inishmaan has almost no momentum behind it.  This race is firmly between the directors of last fall's critical darlings, Twelfth Night and The Glass Menagerie.  Both shows took put fresh spins on well-worn classics, although in my opinion only one of those spins actually proved illuminating to the text.  But I am in the minority when it comes to my low (extremely low) opinion of John Tiffany's work on Menagerie, and he could very well walk away with the top prize.  But considering Tiffany just won a directing Tony in 2012, and that Tim Carroll's production of Twelfth Night was the funniest, freshest production I have ever seen despite (because of?) his adherence to Shakespeare's original practices, I think Mr. Carroll is well-positioned for a much deserved win on Tony Sunday.

 

Will and Should Win:  Tim Carroll, Twelfth Night

 

Best Direction of a Musical

Being a serial killer didn't look nearly so enchanting in Sweeney Todd.

 

Nominees:  Warren Carlyle, After Midnight; Michael Mayer, Hedwig and the Angry Inch; Leigh Silverman, Violet; Darko Tresnjak, A Gentleman's Guide to Love and Murder

 

This is a much tighter race than Best Direction of a Play, with the only nominee I can't picture winning being Violet's Leigh Silverman.  Her work on the small scale musical has its charms, but the production as a whole is a tad underwhelming and the sheen of good reviews has already started to fade.  Director Warren Carlyle arguably had the most to do with his show's success, since the jazz review has no script to speak of and therefore draws all of its structure from the strength of Carlyle's direction and choreography (Carlyle is also the only director/choreographer to score dual nominations this year).  Unfortunately for Carlyle, Tony voters have a not-so-subtle bias against revues, which will probably keep him from actually winning here.

If I was handing out the Tonys, I would give this one to Michael Mayer's bravura work on Hedwig and the Angry Inch.  The show has survived the upgrade from small scale venues to a big Broadway house with its rebellious spirit intact, and that is wholly thanks to Mayer's alterations to the show's premise and his fluid staging.  Also, Neil Patrick Harris didn't just happen upon his stunning performance as the transgendered title character; that kind of magic is the clear product of an actor and director working together in full harmony.  But Darko Tresnjak is at the helm of the year's biggest Tony nominee, and thus gets to reap the benefits of the show's goodwill even though there is hardly anything special about his work on it.  Add in the fact that Mayer already has two Tonys and I'm inclined to think Tony voters will go with Broadway newcomer Tresnjak over the more seasoned Mayer.

Should Win:  Michael Mayer, Hedwig and the Angry Inch
Will Win:  Darko Tresnjak, A Gentleman's Guide to Love and Murder

Best Choreography

Who needs a pesky book getting in the way of all the production numbers?  Not After Midnight, that's for sure!

 

 

Nominees:  Warren Carlyle, After Midnight; Steven Hoggett and Kelly Devine, Rocky; Casey Nicholaw, Aladdin; Susan Stroman, Bullets Over Broadway

I have nothing but the utmost respect for 5-time Tony winner Susan Stroman, and honestly think her two Broadway outings this year (Big Fish and Bullets Over Broadway) were unfairly savaged by the press.  Her production numbers are always full of wit, invention, and an unbridled joy that is the hallmark of Golden Age Broadway, and her involvement will instantly make me more interested in a particular project.  All of that said, Bullets proved extremely divisive among critics and the backlash against the show will prevent her from winning this year.  And while Rocky makes some interesting use of movement, there's just not enough of it to really merit a Tony win.

As a double nominee, Warren Carlyle may be in the best position here.  A win for Carlyle would be an acknowledgement of all his work on the production (similar to how Jerry Mitchell's win last year was an acknowledgement of all of his work on Kinky Boots, not just the choreography) while also leaving Best Director open for someone else.  But the same argument could also be used in favor of Casey Nicholaw, and Best Choreography is his only chance at being acknowledged for all he did to make Aladdin a success.  Nicholaw crafted the year's most buzzed about showstopper - "Friend Like Me" routinely draws standing ovations despite the fact it occurs in the middle of the first act - but Carlyle has won several of the guild awards, making this one a true toss up.  Given this is probably After Midnight's best chance at Tony glory, I think voters will give this to Carlyle, although I would not at all be surprised if Nicholaw won instead.

Should Win:  Casey Nicholaw, Aladdin
Will Win:  Warren Carlyle, After Midnight


That concludes the first entry in my annual round of Tony predictions.  Keep checking back over the next 3 weeks as I work my way through the rest of the big categories, and we'll find out how well (or poorly) I did on June 8th.  Until then, check out the rest of my 2014 Tony coverage below:

2014 Tony Nominations React

Movie Magic, Lost in Translation

Review:  Chaplin

Rob McClure, refusing to let subpar material ruin his big break on Broadway.

 

You want to like Chaplin, the new musical by composer/lyricist Christopher Curtis and bookwriter Thomas Meehan that’s currently playing the Barrymore Theatre.  The life of silent film star Charlie Chaplin certainly features enough drama to sustain a full-length musical, and the show benefits from several strong performances by a mix of Broadway veterans and relative newcomers.  Unfortunately, an abundance of structural missteps and ill-advised story tangents prevent the show from achieving its full potential, and the resulting work is a frustratingly muddled mess of unfulfilled promise.

Obviously, dramatizing anyone’s life brings with it inherent problems, as real life seldom occurs in steadily rising dramatic action that leads to a clean and tidy end.  Like many showbiz stories, Chaplin does a reasonably good job of chronicling Chaplin’s rise to fame in turn of the century Hollywood, utilizing his troubled relationship with his mentally-ill mother to provide dramatic tension during his virtually unencumbered ascension to superstardom.  But the second act, which chronicles Chaplin’s tumultuous personal life and eventual fall from grace, feels unfocused and haphazard.  In Meehan and Curtis’ libretto, one scene rarely flows smoothly into the next, and coherent character motivations are practically nonexistent.

The show also suffers from an uncertain tone, unsuccessfully attempting to split the difference between low comedy and high drama.  Even the relatively conflict-free first act fails to create many laughs, a sin that seems almost unforgivable in a show whose central figure is one of the all-time masters of slapstick.  Things are generally played straight and very serious, but the authors stop themselves from fully committing to the inherent drama of Chaplin’s life by glossing over its more unpleasant aspects.  The star’s multiple marriages to underage woman aren’t explored in any detail, and his demanding and somewhat unethical directorial methods are given only a cursory mention.  Even Chaplin’s relationship with his mother seems underdeveloped, as he spends a majority of the show avoiding her and we are mostly told rather than shown that her condition is getting worse.

Christopher Curtis’ score also underwhelms, with his sometimes interesting melodic ideas rarely coalescing into fully formed songs.  The only piece of music that feels complete is the jazzy “All Falls Down,” written for a vindictive gossip columnist named Hedda Hopper who has made it her life’s mission to ruin Chaplin’s good name.  And even that song is difficult to enjoy because it comes out of nowhere, forcing the audience to spend much of its duration wondering why a woman who has never even met Chaplin suddenly hates him so much (it apparently has something to do with his refusal to grant her an interview).

Yet the hardworking cast takes this subpar material and performs it with such earnestness and conviction that they almost succeed in making it sing.  In the title role, Rob McClure gives such a tour de force performance that you don’t question for a second why the producers entrusted an unknown with such an enormous part.  McClure has clearly spent hours researching the Little Tramp and perfecting his mannerisms, which pays off in his expert handling of the large amounts of physical comedy and recreation of some of Chaplin’s most famous bits.  He performs all of his numbers with gusto, and imbues the eleven o’clock ballad “Where Are All the People?” with a dramatic weight it honestly doesn’t deserve (like “All Falls Down,” the song comes out of nowhere).  McClure paints as complete a picture of Chaplin as the material will allow, and uses his buoyant, assured performance to cover up many of the writing’s flaws.

Past Tony-nominee Christiane Noll does well with the underwritten role of Chaplin’s mother, cramming one of the biggest character arcs of the night into her limited stage time.  Jenn Colella’s hardboiled Hedda Harper is such a strong presence you end up wishing there was more of her, which would have the added benefit of fleshing out one of the story’s key conflicts.  And as Oona O’Neil, Chaplin’s fourth and final wife, Erin Mackey imbues her character with enough charm and quiet strength that you can almost forgive the fact that she doesn’t appear until midway through Act II, despite being the show’s primary love interest.

Finally, special mention must be made of Zachary Unger, the child actor who plays the young Charlie Chaplin.  Displaying a startling amount of maturity and emotional honesty, Unger could give many adult actors lessons in sincerity.  When he breaks into tears as Chaplin’s mother is taken away to the mental hospital, he’s so convincing you want to run onstage and give him an enormous hug.  (The fact that Unger is cute as a button doesn’t hurt, either.)

From a production standpoint, director/choreographer Warren Carlyle does a serviceable job, although you get the impression that his desire for more dancing hinders the show more than it helps.  Particularly egregious is Carlyle’s decision to end Act I with a chorus of dancing Chaplin lookalikes, a decision so out of left field that the audience will spend most of intermission wondering what he was thinking.  The design team’s creative conceit to construct the sets and costumes using only shades of black and white is a neat idea that isn’t fully realized, and results in the show appearing too dark on more than one occasion.  Meanwhile, the ten person orchestra is in desperate need of a few extra players to provide the show with a richer and fuller sound.

Thanks to the hardworking cast, Chaplin has all-too-brief moments of entertainment and genuine dramatic interest.  Because the performers are so good, you really wish the musical they appear in gave them better material to work with.  The idea of a show about Charlie Chaplin remains an intriguing notion, and one hopes that eventually a great version of the story makes its way to Broadway.  For now, we will have to settle for this half-baked concoction instead.