It's a Helluva Show

Review: On the Town

Clyde Alves, Tony Yazbeck, and Jay Armstrong Johnson lead the cast of the current Broadway revival of On the Town.

They don't make them like this anymore. Whether that is a good or a bad thing depends largely on personal taste, but either way it's hard to remember the last time Broadway birthed a musical as earnestly and innocently zany as the Bernstein-Comden-Green classic On the Town. And as the delightfully frothy revival which just opened at Broadway's newly renamed Lyric Theatre proves, there is a reason this particular brand of musical comedy reigned supreme for so long: it's just damned entertaining.

The show opens with a heartfelt rendition of the "Star Spangled Banner," played to glorious perfection by one of the largest, lushest orchestras on Broadway under the skilful baton of conductor James Moore. The lights rise on a sleepy seaside dock, and by the time Phillip Boykin finishes crooning the show's bucolic opening "I Feel Like I'm Not Out of Bed Yet," it is abundantly clear that this is one of the most lovingly rendered, celebratory revivals to grace Broadway in many years. Expertly performed and masterfully staged, On the Town is a love letter not just to the city of New York but to the Golden Age of Broadway, a show where the spectacle derives from the talent of the performers and the cleverness of the writing as opposed to elaborate production design (although Beowulf Boritt's candy colored sets and Jess Goldstein's period-perfect costumes are certainly a joy to behold).

The cast, from top to bottom, is virtually pitch perfect. Tony Yazbeck, Jay Armstrong Johnson, and Clyde Alves excel as the central trio of sailors given 24 hours shore leave, exuding an infectious camaraderie and an unabashed love for one another and the material. Yazbeck proves himself a true triple threat as romantic lead Gabey, anchoring the show with his earnestness and lending his powerful voice to some of the score's most anthemic ballads. Johnson is an unexpected delight as Chip, the most overtly comedic of the three roles, with his boyish good looks and "gee golly" charm endearing him to the audience almost instantly. And Alves holds his own as Ozzie, with a gleefully manic energy and over the top physicality that makes his big showcase "Carried Away" one of the evening's many highlights.

Matching them step for step and scene for scene are their respective love interests. Megan Fairchild, long one of New York City Ballet's most celebrated dancers, makes her Broadway debut as Ivy, and the audience is just as instantly smitten with her as Yazbeck's Gabey. Though a fine actress and singer, Fairchild was clearly cast to dance, and she does so in some of the most virtuosic solo work seen on Broadway this decade. Her second act pas de deux with Yazbeck is breathtakingly gorgeous, and throughout the evening Fairchild appears to effortlessly float across the stage despite the rigorous demands placed on her by choreographer Joshua Bergasse. Elizabeth Stanley is glorious unhinged as Claire, Ozzie's (engaged) romantic foil, and despite a uniformly strong cast, Alysha Umphress threatens to steal the show as Hildy, Chip's bold and brassy lady love.

In fact, Umphress is close to a revelation in the role, effortlessly self assured and blessed with a voice that can raise the rafters. Her introductory duet with Johnson, "Come Up to My Place," is one of the evening's most sustained feats of hilarity, aided by Johnson's game physicality and delightfully simple yet effective staging by director John Rando. And just when it looks like Umphress' best moment will be her first, she knocks the innuendo-laden "I Can Cook Too" out of the park. In fact, that number's instant reprise (a stylistic trait that has not aged particularly well) is the only one of the night that feels entirely welcome, as Umphress' high energy scatting and big money note suitably top her already sterling delivery of the song's original incarnation.

The previously mentioned Rando and Bergasse (director and choreographer, respectively) deserve special praise for the way they have effortlessly wrangled this beast of a show into an easily digestible comedic feast. Rando keeps things moving with his varied and inventive staging; for a show with comparatively few scenic elements, On the Town is always interesting to look at. And in his Broadway choreographic debut, Bergasse astounds with the sheer volume and ingenuity of his work. Whether he's having his dancers leap through the air or embody living mannequins, Bergasse's choreography is both technically impressive and delightfully whimsical. All of the stagecraft advancements of the past 30 years have yet to top the unbridled thrill of seeing a stageful of dancers jump, twist, and pirouette in unison, and Bergasse delivers such sights in spades. In a show with four full fledged ballets and numerous large production numbers, Bergasse's inventiveness never falters, and hopefully we will be seeing much, much more of his work in the future.

On the Town is undeniably old fashioned, and it does possess a few conventions that have not aged particularly well. But on the whole this revival feels as fresh and vibrant as ever, with a top tier cast and creative team who are clearly having the time of their lives. Only the most curmudgeonly of audience members would be unable to recognize and enjoy this production's many strengths, and for fans of Golden Age Broadway this revival is a dream come true. For the show's duration, any and all troubles melt away, a rare and precious gift that On the Town bestows freely, and a breath of fresh air during these increasingly troubled times.

An Off-Kilter Family Christmas

Review:  A Christmas Story

A Christmas Story finally fulfills Broadway's long-standing need for a production number centered around a leg-shaped lamp.

 

Despite its prolific holiday airings on multiple TV stations, I have never actually seen the much beloved film A Christmas Story.  Therefore I cannot judge the musical incarnation, currently playing a limited engagement at Broadway’s Lunt-Fontanne Theatre, on its fidelity to the source material, although judging by the anticipatory laughter from the packed house I assume most of the movie’s major comedic beats survived the transfer intact.  Reviewing this adaptation on its own merits, I unfortunately must report that it’s a hit or miss affair that features promising new talent led astray by some dubious directorial choices.

A Christmas Story tells the story of young Ralphie Parker, whose only goal in life is to receive a Red Ryder Carbine Action BB Gun for Christmas, despite his Mother’s repeated protestations.  “You’ll shoot your eye out,” she warns.  Ralphie’s Old Man isn’t any more receptive, being more preoccupied with winning a crossword competition and repairing the many, many broken devices around the family’s cozy Indiana home.  Ralphie’s quest for the Red Ryder Gun is really just a framing device that allows the show to explore the various mishaps that befall Ralphie and his family as they prepare for the holidays, which include various schoolyard antics, a pair of pesky bloodhounds, and some questionable home décor.

Given the saccharine sweet nature of most holiday offerings, it’s refreshing to see A Christmas Story present such an off-kilter take on traditions like visiting Santa, picking out a tree, and the all-important Christmas dinner.  While the plot gets stretched mighty thin in order to fill a two-and-a-half hour musical, the characters are endearingly quirky and the less-than-perfect holiday shenanigans feel relatable and authentic.  Joseph Robinette’s libretto commits no major sins, even if a few more sections of overt comedy would have been welcomed.  And the score by Broadway newcomers Benj Pasek and Justin Paul is a delight, establishing the young songwriters as talents to watch.

It’s unfortunate the show suffers from such uninspired direction by John Rando, the Tony-winning director of the similarly cheeky Urinetown.  Rando’s flat staging makes poor use of the stage and Walt Spangler’s set, and fails to provide the speedy pacing that would help disguise the book scene’s shortcomings.  Many of the solos end up feeling static due to Rando’s minimalist staging, but thankfully A Christmas Story also features a smattering of fantasy sequences that are a visual delight.  The Western-themed “Ralphie to the Rescue” casts the dozen-strong youth ensemble as rough-and-tumble gunslingers and sassy saloon wenches, and the speakeasy-set “You’ll Shoot Your Eye Out” is far and away the evening’s highlight.  One of the most adorable things you’ll ever see, the young performers dress up as little gangsters and flapper girls to perform a showstopping tap number that features the best dance solo currently on Broadway, made even more impressive by the fact that dancer Luke Spring is only nine-years-old.

In fact, the kids prove to be the strongest members of the show’s cast.  As Ralphie, Johnny Rabe carries the show with aplomb and finesse, acting and singing like a seasoned pro.  Zac Ballard is adorably weird as Ralphie’s younger brother Randy, throwing himself into the show’s physical comedy with the kind of abandon only a child can muster.  Jack Mastrianni and John Babbo are particularly funny as schoolyard bullies Farkus and Dill, and Jeremy Shinder’s goofy best friend Flick proves to be a welcome addition.

When it comes to the adults, John Bolton and Erin Dilly give their all as Ralphie’s Old Man and Mother respectively, but both actors are ultimately betrayed by some questionable writing and a lack of strong direction.  Bolton adeptly switches from bellowing brute to misunderstood everyman, but these personality shifts lack motivation and result in a schizophrenic performance (although his “A Major Award” production number is a winner).  Dilly’s Mother is suitably maternal, a frazzled but loving housewife who only wants what’s best for her family.  Despite some lovely vocals and fine acting from Dilly, Mother’s two songs fail to add anything interesting to her character, slowing the show down rather than enhancing it.  The rest of the adult ensemble fails to make much of an impression good or bad, and is quickly forgotten once they leave the stage.

Ultimately, A Christmas Story has a lot of things going for it.  A holiday show for those who don’t like holiday shows, it evokes the spirit of the season without resorting to cloying sentimentality.  It’s an exciting Main Stem debut for the promising songwriting duo of Pasek and Paul, who between this and Off-Broadway’s Dogfight are having quite the breakout year.  There are certainly worse ways to spend a December evening, and the show’s scheduled two month limited run seems about right for this particular musical.  A Christmas Story’s imperfections are ultimately a part of its charm, and those looking for a holiday treat will find plenty to enjoy.