Best Shows of 2012: #6

Best of 2012

#6 – Jesus Christ Superstar

Jesus learns that living in NYC means ignoring the noise coming from right next to you.

 

Until last spring’s Broadway revival, I couldn’t even begin to fathom the enduring appeal of Andrew Lloyd Webber’s Jesus Christ Superstar.  An indulgently screechy rock opera written for singers with superhuman voices, the show features almost zero character development and a poorly scripted plot that’s nearly incomprehensible to those not already familiar with the story of Jesus Christ’s final days.  But after viewing director Des McAnuff’s pulse-pounding production, I finally “got” the show and why it has continued to appeal to generations of fans.

A dynamically engaging post-apocalyptic setting combined with McAnuff and choreographer Lisa Shriver’s propulsive movement gave this Superstar a drive few musicals can muster.  Each subsequent number would build upon the one which preceded it, and suddenly Lloyd Webber’s constant repetition of melodies and motifs felt purposeful and even necessary.  This staging successfully captured the giddy, over-the-top nature of a rock concert, while simultaneously adding unexpected depth to the show’s key interpersonal dynamics.  Now the relationships between Jesus, Judas, and Mary Magdalene weren’t just talked about but deeply felt, communicated through piercing stares and telling body language.

The entire cast deserves kudos for effortlessly highlighting the show’s hidden complexity and handling its vocal demands as well as any group of actors I’ve ever seen.  Paul Nolan’s pitch perfect rock tenor even managed to make the unending bombast of Jesus’ “Gethsemane” palatable, with the fact that he looked like the walking embodiment of every Renaissance painting of Christ serving as an added bonus.  Although I missed Josh Young’s Tony-nominated Judas due to the actor’s pervasive health issues, understudy Jeremy Kushnier was an entirely compelling anti-hero who genuinely struggled with the decision to betray his former friend.  And Chilina Kennedy’s Mary was the perfect foil for the two estranged friends at the show’s center, delivering the oft-sung “I Don’t Know How to Love Him” with refreshing honesty and conviction.

Jesus Christ Superstar will never be a great show, but this was a truly great production capable of converting even the show’s most ardent critics, myself included.  As a theatrical event and musical experience it exceeded all possible expectations, presenting a fresh take on the tired and at times overwrought material.  Unfortunately Superstar failed to find much of an audience and has long since closed, but those lucky enough to have seen it know why it was one of the Best Shows of 2012.

 

For a full review of Jesus Christ Superstar, click here.

Best Shows of 2012: #7

Best of 2012

#7 – Clybourne Park

Proof the white people should never, EVER attempt to "raise the roof."

 

Clybourne Park’s Broadway transfer almost didn’t happen.  Despite winning both the Pulitzer Prize for Drama and the Olivier Award for Best New Play, its planned Broadway bow was thrown into question when lead producer Scott Rudin withdrew from the production after a dispute with playwright Bruce Norris.  Thankfully producer/theatre owner Jordan Roth swooped in to save the show, as Clybourne Park’s mixture of black comedy and thought-provoking rhetoric made for a fantastically stimulating night at the theatre.

Set in the fictional Chicago neighborhood of Clybourne Park, Act I took place in 1959 and Act II took place in 2009.  The first half of the play concerned the imminent arrival of the neighborhood’s first black family (implied but never explicitly stated to be the Younger family from Lorraine Hansberry’s A Raisin in the Sun), while the latter portion dealt with a white family moving into the now all-black neighborhood.  This structure allowed the play to make many fascinating observations about how racism has and hasn’t changed over the past five decades, and if the first act seemed slow the near perfection of the second half not only elevated the evening but proved everything which preceded it was necessary to fully understanding what Norris had to say.

An actor himself, Norris managed to create two equally compelling sets of nuanced characters, making the racially-charged dialogue feel organic rather than didactic.  Norris also expertly avoided the trap of oversimplifying his arguments, letting every character make valid points which challenged the audience’s beliefs.  It was refreshing to see both black and white characters portrayed as equally right (and wrong), and that quality helped make Clybourne Park an especially satisfying encapsulation of the endlessly complex subject of race.  Even better, the play managed to tackle all of these topics while remaining laugh-out-loud funny, providing a welcome respite from the weighty matters being discussed.

The cast of Clybourne, all of whom originated their roles in the play’s world premiere Off-Broadway, was ideal.  Under the razor-sharp direction of Pam MacKinnon, the seven-strong company was a master class in ensemble acting, supporting and playing off one another with delightful ease.  With every actor tasked with portraying two characters (one in the first act, one in the second), the specificity and nuance in their characterizations became all the more impressive.  Their chameleon-like nature allowed the audience to fully immerse itself in the play’s world, and kept the focus squarely on Norris’ crackling dialogue.  The deserved winner of this year’s Best Play Tony, Clybourne Park gave audiences the perfect blend between art and entertainment, and that is why it is one of the Best Shows of 2012.

To read my full review of Clybourne Park, click here.

Best Shows of 2012: #8

Best of 2012

#8 – Annie

Anthony Warlow and Lilla Crawford are the two stellar stars of James Lapine's handome new Annie.

 

When it first opened on Broadway in the spring of 1977, Annie received near-universal acclaim and became so prolific that even people with zero interest in musical theatre knew it by name.  The show about the little orphan with the big heart has since become synonymous with the sun-drenched optimism that typifies classic musical comedies, and in an increasingly cynical world that earnestness has made it a subject of scorn and derision.  It’s easy to forget that behind that relentlessly positive outlook lies a solidly constructed tuner just waiting for the right production to reveal its multitude of charms.

James Lapine’s splashy revival is just such a production, shedding the decades of baggage and expectation Annie brings with it to emerge as one of the year’s freshest pieces of escapist entertainment.  By focusing on the text and the truth of the show’s world, Lapine and his actors have reached a level of earnestness that makes the many songs about hope and positivity feel both genuine and necessary.  The show’s version of Depression-era New York is unabashedly naïve, but that viewpoint is wholly appropriate to the musical’s child protagonist and its message about the value of looking on the bright side of life.

Lapine has found an extremely talented group of young women to embody Annie and her orphan pals, and their unbridled enthusiasm proves to be infectious and one of the show’s strongest assets.  In a performance sure to result in a Tony nomination, Anthony Warlow’s Daddy Warbucks is sublime perfection, with his growing fondness for Annie creating some unexpectedly moving moments.  Two-time Tony-winner Katie Finneran may not be doing her best work as the villainous Miss Hannigan (and the show does suffer because of it), but the comedic actress brings plenty of raucous energy and a particular gift for physical comedy to the scene-stealing role.

Annie’s family friendly nature ensures it will be many children’s first exposure to the wonders of live theatre, and from the opening chords of the overture until the final curtain young audiences are sure to be utterly enchanted.  But fun has no age limit, and anyone who remembers (or would like to remember) the joy and limitless possibilities of youth will find plenty to appreciate in this handsome staging.  Here’s hoping that this Annie has many, many tomorrows in its future.

For my full review of Annie, click here.

Best Shows of 2012: #9

Best of 2012

#9 – The Mystery of Edwin Drood

Damned if there you are!

 

I firmly believe that Rupert Holmes’ The Mystery of Edwin Drood is one of the worst musicals ever written.  Based on Charles Dickens’ unfinished last novel, the show is two hours of uninteresting exposition and merely passable songs that mark time until we reach the musical’s central gimmick, which is letting the audience vote on the mystery’s solution and thereby choose the show’s ending.  The nearly incomprehensible “plot” and exceedingly shallow characters require a top-notch production to mask their many deficiencies and make the show even vaguely tolerable.

Thankfully, the Roundabout Theatre Company’s current Broadway revival is a top-notch production.  Filled to the brim with outstanding performances, the talent involved elevates Drood into a musical confection that’s still devoid of meaning but so much fun you hardly care.  Stephanie J. Block has found the perfect vehicle for her many talents, with her turn as the title character equally highlighting her skills as a musical comedienne and her nearly unmatched vocal prowess.  In any other show, a performance of Block’s caliber would make her the unequivocal star, but this production features so many outstanding supporting turns that Block is but one jewel in a musical crown.

Rising star Jessie Mueller demonstrates remarkable range as the fiery Helena Landless, proving just as entrancing here as she was playing the ingénue Cinderella in this summer’s Into the Woods.  As the musical’s master of ceremonies, Jim Norton turns what could be a rather bland role into one of the year’s great comedic performances, hamming things up with delightful abandon.  Will Chase chews the scenery with infectious, giddy delight as the musical’s villain, and as the object of his lascivious desires Betsy Wolfe is a dream.  The show also boasts Chita Rivera’s return to the Broadway stage after a six year absence, and this living legend proves that she’s still got it.  The sets and costumes are just as impressive as the starry cast, with William Ivey Long’s gorgeous Victorian outfits a particular standout sure to net the designer his umpteenth Tony nomination.

Roundabout’s Broadway productions have been hit or miss in recent seasons, but The Mystery of Edwin Drood is a definite hit.  The not-for-profit has given this musical a far better production than it deserves, and those high standards have resulted in one of the most entertaining musicals of the year.  Anyone looking for a carefree night of bawdy jokes and hammy performances will absolutely adore Drood, and even the most ardent Scrooges in the audience won’t be able to resist cracking a smile or two.



For my full review of The Mystery of Edwin Drood, click here.

The Best Shows of 2012 Countdown

The tree is up at Rockefeller Center, the number of tourists in Times Square is steadily multiplying, and every store in the city seems to be playing holiday music.  Yes, we are fast approaching the end of 2012, and just like last year I’m going to use the upcoming month to look back at the best and worst shows of the past 12 months.  Which show will succeed The Book of Mormon as the best show of the year?  And what show will follow in Spider-Man: Turn Off the Dark’s dubious footsteps and be crowned the absolute worst the New York theatre scene has to offer? 

Over the next few weeks, I’ll be counting down to my top picks, and I hope you’ll join me for this look back at the year on Broadway and beyond.  This is by no means meant to be an exhaustive or definitive list of the best and worst shows of the year.  I simply don’t have the time or money to go see everything, and so this list will be confined to productions I have actually attended, be they on Broadway or beyond.  If you disagree with me, I welcome you to make your case in the comments.  And now, without further ado, let the Best of 2012 Countdown begin!

 

Best of 2012

#10 – Into the Woods

 

Stephen Sondheim’s deconstructed fairy tale is one of the composer’s most beloved works, leading to a nearly unprecedented level of anticipation for last summer’s star-studded Shakespeare in the Park production.  The open-air staging by director Timothy Sheader proved to be especially divisive, with audiences loving and loathing it in equal measure.  While far from perfect, I personally loved this new take on the familiar musical, and appreciated the fact that Sheader and company dared to try something different with the piece.

 

The contemporary update of the show, coupled with the addition of a framing device involving a child Narrator who tells the tale to keep himself entertained after running away from home, made this staging feel fresh and unexpected.  While some complained the sprawling, multi-tiered set made the action hard to follow, I felt it added a layer of visual interest the show sorely needed, while simultaneously providing a sense of continual movement to this musical quest.  The reimagined Witch and the marauding Giant are two of the more vivid images from the past twelve months, and whether or not you agreed with all the directorial choices it was nice to see such bold ones being made on such a high-profile production.

 

Even more divisive than the staging was the cast, which admittedly was something a mixed bag, although in my opinion the good outweighed the bad.  Seeing Donna Murphy tackle the Witch proved to be one of the most thrilling performances of the year, and her show-stopping “Last Midnight” was a transcendent example of musical theatre acting at its finest.  The naysayers who complain Murphy’s performance hewed too close to Bernadette Peters’ original would have been equally offended if she had strayed too far from her predecessor’s blueprint.  Far more deserving of scorn would be the horribly miscast Dennis O’Hare as the Baker or the slightly awkward Baker’s Wife of Amy Adams.

 

Ultimately, it’s probably for the best that this production’s rumored Broadway transfer has yet to materialize.  Although the show would have benefited from some tweaking and more rehearsal time, moving the production indoors would have robbed it of a vital component of what made this Into the Woods special.  As an entertaining diversion for a balmy summer’s night, the production was hard to fault, and that is why I’ve named it one of the Best Shows of 2012.

 

For my full review of Into the Woods, click here.