A First Rate Revival of a First Rate Farce

Review: Noises Off

After seeing Noises Off, you'll never look at a plate of sardines the same way.

When is bad acting the best kind of acting? When it is intentional and pulled off with the kind of deft, reckless comic abandoned used by every single cast member in Roundabout Theatre's stellar revival of Michael Frayn's farcical masterpiece, Noises Off. The belly laughs come early and often in this dizzying comic tour de force, which marks not just the first Broadway show of 2016 but also the first great one.

Heralded since its 1983 premiere as one of the all time great theatrical comedies, Noises Off milks its many laughs out of an exceedingly simple premise. A troupe of actors is desperately trying to mount a production of the fictional sex farce Nothing On, a terrible play being done terribly by the ill-equipped actors. Noises Off is broken up into three acts, each set at a different point in the show's run: Act I details the show's disastrous technical rehearsal, Act II moves the action backstage during a performance midway through the show's run, and Act III comes back in front of the curtain to show just how much the show has fallen apart by the end of its run. All of this is enacted by a wonderfully eccentric cast of characters who are concurrently sorting out multiple backstage romances, none of which seem to be going particularly well.

It must be said that even 30 years later Frayn's writing remains a marvel of economy and subtle exposition. As Noises Off primarily deals with how poorly the play-within-a-play is going, there's little time for fleshing out the actors performing it, and yet Frayn manages to pepper the dialogue with enough organic references to their offstage lives that everyone comes across as a person rather than a caricature. The show's first act is funny enough on its own that you don't realize how much expository groundwork it's laying. The repetition of scenes from Nothing On (necessitated by multiple missed cues during the play's tech rehearsal) allows you to follow what's happening in Acts II and III, where the same portion of the fictional comedy is viewed from backstage and from the audience during completely botched performances, yet you don't even realize that's what Frayn's doing until long after the final curtain has literally fallen. The only real knock against the writing is that the playwright fails to follow up on the bombshell revelation at the end of Act II, but at the same time the fact Frayn leaves certain details offstage details to the imagination is part of the appeal.

Of course no matter how strong a script is, you still need a cast and creative team capable of executing it, and that is where this revival truly shines. As the saying goes, "Dying is easy; comedy is hard," and nowhere is that more apparent than in the carefully plotted madness of Noises Off. The play relies on everything going wrong in such a specific fashion that one misstep would derail the entire enterprise, and yet for it to remain funny you cannot see the work or be aware you're being set up for a punchline. Director Jeremy Herrin nails this aspect, carefully crafting each moment of stage time so you can follow both the plot of the play-within-a-play and the behind the scenes shenanigans with ease. He keeps the pacing tight and the comedy heightened yet real; none of the characters have any idea they're being funny, which makes their hapless misadventures all the more hilarious.

Herrin has also assembled one of the hardest working casts in the industry, a true ensemble where every member is working together towards the larger goal. Part of what makes the sparsity of character development work is this cast's ability to fill in the blanks with their mannerisms, and at any moment you can watch anyone onstage and see a fully committed and often deeply hilarious performance. The specificity of the character choices is astounding, as is the varied and delightful ways they interact with one another. It helps that everyone has impeccable comic timing and a major affinity for physical comedy, from prat falls to slap fights to a tumble down the stairs executed with near balletic grace. The actors' physicality comes to a head during the showstopping backstage pantomime that makes up the majority of Act II, a sequence so packed with comic genius it could be watched half a dozen times and reveal entirely new layers of brilliance each time.

Andrea Martin is excellent as the company's resident (and fading) diva, who slowly but surely comes to realize she's in way over her head. Famed comedienne Martin is essentially playing the straight woman, which anyone who works in comedy will tell you is the hardest role to make work, a change of pace she expertly handles while remaining her unimpeachably hilarious self. Jeremy Shamos is side-splittingly funny as an actor who can't stand the sight of violence and just wants to know his motivation, getting funnier and funnier as his character becomes more and more bedraggled. Kate Jennings Grant is immensely appealing as the company's most competent actor and resident gossip monger, and has perhaps the play's single greatest bit of physical comedy as she *slowly* slinks across the floor midperformance to "unobtrusively" remove an errant plate of sardines from the set. Campbell Scott is delightfully explosive as the cantankerous director trying to corral this hapless troupe of actors, and both Tracee Chimo and Rob McClure provide fine support as the production's stage manager and resident technician/understudy, respectively. David Furr kills as the fading marquee idol seemingly incapable of finishing his sentences, and as the resident drunk Daniel Davis is great fun.

But the true standout of the show (quite the accomplishment in a cast this talented) is Megan Hilty as the blonde bombshell who spends the majority of the play in sexy lingerie. Hilty is one of the best bad actresses you are likely to ever see, and her every second of stage time is a multi-faceted masterclass in comic business. Hilty never upstages her cohorts, but when it's her time to shine she takes the moment and runs with it, like her tear-inducingly awkward crawl down the staircase while searching for her missing contact. Whether she's practicing her meditation, silently mouthing the other actors' lines, or flailing her arms in mock panic, Hilty is a comedic knockout.

Really, the only thing wrong with Noises Off is that it's a limited run production, meaning we only have another month to savor this sublime production. The entire hilarious cast will soon have to clear out of the American Airlines Theatre to make way for a very different type of classic (Roundabout's upcoming revival of Long Day's Journey Into Night), so I beg you to brave the cold and catch this production while you can. It's the perfect antidote to the winter doldrums, and proof positive that comedy can be every bit as artistically rewarding as drama.

Extremely Early 2016 Tony Predictions: Part II

I love talking Tony Awards, but this year's awards offer an interesting conundrum. Many of the musical categories, which are typically my favorite to discuss and dissect, feel like a foregone conclusion thanks to the overwhelming (and deserved) critical and commercial success of Hamilton. If any show can give this musical juggernaut even a minor challenge it will be a miracle, as everyone I know expects the show to clean up at this year's ceremony.

Luckily, the acting categories are much more competitive, given the overwhelming number of positively reviewed productions from the fall. There's already enough noteworthy performances to make for some truly exciting races, and that's not even taking into account all of the yet-to-open spring shows. The one problem with many of these performances (especially the non-musical ones) is that they will be nothing but a memory by the time Tony nominations are announced in May, meaning any acting hopefuls will have to have made a major impression on the theatrical community to stay in contention. So who do I think has done just that? Find out below!

Best Actor in a Musical

Danny Burstein (left) as Tevye in Bartlett Sher's first-rate Fiddler on the Roof.

As far as I'm concerned, this award *needs* to go to Danny Burstein. He is one of the greatest character actors currently in the business, and the fact he has yet to win a Tony is one of the industry's biggest headscratchers. He will definitely get nominated for his superb Tevye in the latest Fiddler on the Roof revival, but will have to overcome some serious competition to actually win. Lin-Manuel Miranda seems destined for an acting nod for his work as the title character in Hamilton, and he will almost certainly be joined in the Lead Actor category by costar Leslie Odom, Jr. thanks to the latter's expertly nuanced portrayal of Aaron Burr.

After those three locks, things get much trickier to predict. Assuming The Color Purple's Isaiah Johnson is deemed a Lead Actor for his role as the villainous Mister, he is one to watch out for and will definitely be a part of the conversation. And many critics were mightily impressed with Alex Brightman's star turn in School of Rock, keeping his name in the mix as well. That's already enough for a full slate of Best Actor in a Musical nominees, and it doesn't even take into account the well-liked work of Austin P. McKenzie in Deaf West's Spring Awakening or any of the leading men from the spring shows. American Psycho's Benjamin Walker; Shuffle Along's Brian Stokes Mitchell, Joshua Henry, and Brandon Victor Dixon (depending on the size of their roles); and Tuck Everlasting's Andrew Keenan-Bolger are all well-respected performers who are definitely in contention, meaning this could be the first Tony race to use last year's rule change to expand past the traditional five nominees.

Best Actress in a Musical

Newcomer Cynthia Erivo in The Color Purple, making one of the most sensational Broadway debuts in years.

Here again we have a category that is already fairly competitive even without taking the spring shows into consideration. The Color Purple's Cynthia Erivo is the clear front-runner at the moment; every critic and audience member I know has been absolutely floored by her soul-stirring performance as the put-upon Celie. The other surefire nominee at this point would be Hamilton's Phillipa Soo, who I had pegged as one to watch during her Off-Broadway debut in Natasha, Pierre, and the Great Comet of 1812. Soo's Eliza Hamilton provides the Broadway's latest blockbuster with much of its heart, and the captivating actress gets to display the kind of wide emotional range that makes a performance catnip to awards voters.

Beyond Erivo and Soo, we might not see much representation for the fall shows. I have to imagine the previous Tony-winners Audra McDonald, Jessie Mueller, and Laura Benanti will be among this year's contenders for their highly anticipated spring shows, which would give us a full slate of nominees *unless* the category expands. Should a sixth slot become available, I think On Your Feet's Ana Villafañe is the most likely to fill it thanks to her utterly charming Broadway debut. One also cannot completely rule out Lea Salonga, although the fact that Allegiance will be long gone by the time nominations are announced severely hinders her chances. At this point, my gut tells me this category will stay at five nominees, meaning Mueller or Benanti would have to severely disappoint to make room for one of the other possibilities (the idea of Audra McDonald disappointing in anything is so unlikely it isn't even worth considering).

Best Actor in a Play

Mark Strong in Lincoln Center's avant-garde production of A View from the Bridge.

Currently, there are no clear front-runners in this category, which makes the nomination slots basically up for grabs. Tim Pigott-Smith and Mark Strong were both nominated for Olivier Awards for their work in the King Charles III and A View from the Bridge respectively, and I expect them to be nominated for Tonys as well (Strong ultimately won the Olivier). Aside from them, I don't really see anyone else from the fall slate of plays making the cut. There is a slightly possibility Fool for Love's Sam Rockwell or The Gin Game's James Earl Jones get recognition for their well-reviewed work, but both shows already feel like they closed ages ago and will likely be long forgotten by the time nominations are announced. As this is another category I fully expect to remain at five nominees, I think there's enough contenders among the spring shows to keep the number of fall nominees low.

Best Actress in a Play

Annaleigh Ashford as the titular pooch in A.R. Gurney's Sylvia.

This category is certainly more competitive than Best Actor in a Play at the moment, with several well-loved actresses having already turned in some highly respected performances. Last year's Best Featured Actress winner Annaleigh Ashford will likely find herself competing in the Best Actress category this year her work in Sylvia, as she is someone who just earns better reviews each time she steps onstage. Laurie Metcalfe is probably one of the most respected actresses in the business to not have a Tony, and by all accounts she single-handedly makes Misery watchable, so I expect her to be in contention as well. And if Andrea Martin can not just get nominated but win a Tony for 10 minutes of stage time in Pippin, one has to imagine that playing the lead in Noises Off puts her in a very good position heading into Tony season. We also cannot completely rule out previous Tony winners Nina Arianda, Cecily Tyson, and Linda Lavin from consideration, although at this point all three feel like long shots. And while Kiera Knightly is generally an awards show darling, I think Therese Raquin was simply too divisive of a play to secure her a nomination.


Feel free to share your thoughts on the Lead Actor/Actress categories in the comments, and keep an eye out for the third part of this feature coming soon. In the meantime, you can always check out my previous Tony coverage by clicking on the link below:

Extremely Early 2016 Tony Award Predictions: Part I

Extremely Early 2016 Tony Predictions: Part I

The Christmas decorations are packed away, we're beginning to see which New Year's resolutions are actually going to stick, and the weather has become decidedly cold and snowy. It is definitely late January in New York City, which means we're just over halfway through the 2015-2016 Broadway season. As has become tradition here at Broadway Etc., I am once again taking stock of the new crop of fall shows to see which ones are in the best position to be remembered when the Tony Award nominations are announced on May 3rd.

As always, handicapping the Tony Awards in an inexact science, but based on some historical trends along with good old fashioned gut instinct I'm ready to make some predictions. Of course, anything can happen depending on how well or poorly the spring shows are received, but here's my take on how things stand so far.

Best Musical

Thomas Jefferson's (Daveed Diggs) coming home...to the Tony Awards.

I know it's early in the season and there are a *lot* of new musicals scheduled to open in the spring, but I think it's safe to call this category for Hamilton. It is easily the most important musical of the 21st century, and I honestly believe future generations will talk about this show the same way we talk about groundbreaking works like A Chorus Line and Rent. It's also just really fucking good, a near perfect fusion of writing, direction, and performances that has floored everyone who's been lucky enough to snag a ticket. As for what other shows will be competing against Lin-Manuel Miranda's hip-hop juggernaut, at this point only On Your Feet and School of Rock seem to be viable contenders. Whether either makes the cut largely depends on whether the Tony committee ends up selecting four or five Best Musical nominees, as the spring musicals would have to be rather disappointing to not account for at least half of this category. I will give the slight edge to Andrew Lloyd Webber's return to form with School of Rock, as a lot of critics seemed skeptical of their enjoyment of On Your Feet, but regardless of what happens I expect a healthy Broadway and regional life for both productions.

Best Play

The (future) Royal Family, as portrayed in British import King Charles III.

This fall has been fantastic for everything except new plays on Broadway. Of the five eligible productions, only British import King Charles III received the kind of critical accolades that will help Tony voters remember it come May (all of the fall plays will be closed by the time Tony nominations are announced). At this point China Doll and Misery are best known for the shortcomings of their famous headliners - both of whom are rumored to be getting line prompts via earpiece - than for the quality of their scripts, and Our Mother's Brief Affair has been met with the kind of muted enthusiasm that often greets Manhattan Theatre Club productions. The fact that Roundabout's divisive Therese Raquin is even a possibility speaks to the uncompetitive nature of the fall plays, but I suspect King Charles is the only we'll actually be talking about come Tony Tuesday.

Best Revival of a Musical

The Color Purple headliners Cynthia Erivo and Jennifer Hudson are blowing the roof off that theatre nightly.

This has already been an amazing season for musical revivals, and in my opinion every one thus far has been at least nomination worthy. That said, unless something goes horribly wrong I have to imagine that Roundabout's spring revival of She Loves Me makes the cut, and if Shuffle Along is ruled a revival then it stands a strong chance of getting one of the four Best Musical Revival nominations (there aren't enough eligible productions to allow for the addition of a fifth nominee). John Doyle's sensational striped down production of The Color Purple is the safest bet for inclusion in the category, and at this point looks likely to take the whole thing. Bartlett Sher also seems to have a standing invitation to the Tony Awards, and regardless of what you think about the modern dress framing device he added to Fiddler on the Roof the rest of the production is so well done I can't imagine it being left out. At this point, there's a legitimate chance that Deaf West's highly effective Spring Awakening gets ignored to make room for Shuffle Along (the latter's producers are pushing hard for a revival classification), and that seems almost criminal. This is the most competitive by far of the production categories, and is almost certain to result in at least one legitimate snub.

Best Revival of a Play

There's no stronger critical catnip than British actors digging into a meaty drama, as the ecstatic reception of this season's A View from the Bridge proves.

This is the category that tends to change the least between the fall and the spring, as most of the eligible productions are limited runs that have opened and closed by the time winter rolls around. From the fall crop of play revivals, I would say two are almost guaranteed to be among this year's Tony nominees: the critically lauded A View from the Bridge and Noises Off. Should a third play from the fall make the cut, it's a toss up between Fool for Love, The Gin Game, and Sylvia. I will give the slight edge to Fool for Love for being the most respected piece of writing of the bunch, as it is very hard to be competitive in this category without strong writing. Despite the love for stars James Earl Jones and Cecily Tyson, the most common response to this fall's revival of The Gin Game seemed to be, "How did this win the Pulitzer?" Meanwhile, Sylvia is most likely to be remembered for Annaleigh Ashford's star turn as the titular pooch, which could well land the actress among this year's nominees for Best Actress in a Play.


That's my take on where the production categories currently stand. Check back soon for my thoughts on the acting races, and in the meantime don't be afraid to share your thoughts in the comments!

The Rhythm is Gonna Get You

Review: On Your Feet!

Ana Villafañe and the cast of On Your Feet!, clearly having an absolute blast.

When people discuss great works of musical theatre, the conversation tends to steer towards shows that have weighty sociological or philosophical themes underlying all their razzle dazzle (think West Side Story, Rent, Hamilton, or any of the works of Stephen Sondheim). Judged by those standards, On Your Feet! is far from a great musical, but it is a highly entertaining one, thanks to the infectious music of Latin crossover sensation Gloria Estefan, high-energy dance routines, and a beguiling central performance by newcomer Ana Villafañe. Polished to a high sheen by all involved, chances are you'll be too busy having fun to really worry about the piece's structural flaws.

On Your Feet! tells the story of Gloria Estefan and her husband Emilio, following the pop singer from her days as a plucky child with the dream through her rise to international superstardom. The show hits all the requisite bio-musical story beats, including her struggles against unsupportive record labels, her romance and eventual marriage to writing partner Emilio, and the pressures fame places upon her and her family. Bookwriter Alexander Dinelaris dutifully shuttles the story from one plot point to another while working in all of the Estefans' biggest hits, providing just enough personal details in the process to keep the characters from feeling like complete caricatures.

Yet Dinelaris also glosses over some key points in Gloria's life and career. The Estefans go from playing small Miami clubs in one scene to fighting the record label over their contractual right to release an English-language recording in the next, but we never see or hear how they got said contract in the first place. They also have a son at some point, who just sort of appears as a nine-year-old without any other indication a significant amount of time has passed. It's not that you can't follow the plot, but a bit more specificity would be appreciated. To Dinelaris' credit (and the Estefans', who were heavily involved in the show's development), the book doesn't shy away from Gloria's sometimes contentious relationship with her mother or the arguments she would have with Emilio over her grueling schedule, which provides just enough dramatic tension to sustain interest between production numbers.

Like Dinelaris' book, Jerry Mitchell's direction is more workman-like than inspired. It gets the job done, but it isn't especially memorable or inventive. The clear highlight of the staging is Sergio Trujillo's exuberant production numbers, which pop with an authentic Latin flair that never gets old. When the entire cast gets onstage to shake their moneymakers to the bouncing "Conga" beat or proudly proclaim "The Rhythm is Gonna Get You," don't be surprised if your toes start tapping along. Both acts end with the cast entreating the audience to get up and dance, and it is a testament to the energetic and fun spirit of the evening that most people need little coercion to comply. (One has to imagine that two-time Best Choreography Tony-winner Mitchell had at least a partial hand in the dances, which helps make up for his run of the mill staging elsewhere.)

Leading the cast in a first-rate Broadway debut is Cuban-American actress Ana Villafañe as Gloria Estefan, and the talented young performer looks and sounds so much like the pop icon that it can be disconcerting. Her voice is a dead ringer for Estefan's, with a glorious lower register that seamlessly transitions into a bright yet powerful belt that mimics the latter's most famous recordings. Villafañe also proves herself quite the capable actress and dancer, radiating the kind of confidence and joy that made Estefan an international superstar and elevating the entire production in the process. She is definitely one to watch, and fits the role so perfectly it's difficult to imagine On Your Feet! without her.

Josh Segarra is both charming and handsome as Emilio Estefan, who first discovered Gloria and shepherded her to superstar status. Much of the show's humor comes at Segarra's expense, from his initial entrance in ridiculous short-shorts to a running joke about Emilio's tenuous grasp on the English language. The actor is game for whatever is thrown his way, and while his singing voice is occasionally overpowered by the orchestra and the rest of the singers that doesn't make his performance any less endearing. Broadway veteran Andrea Burns does fine work as Gloria's initially skeptical mother, delivering the most fully realized character while also getting her own show-stopping moment via flashback.

Visually, On Your Feet! is an appealing combination of the most outlandish and sophisticated elements of the 1980s. Costume designer ESosa utilizes beautiful pastels and jewel tones to make every character pop, and has a lot of fun creating his own riffs on the most iconic 80s fashion. Shoulder pads, leg warmers, and high-waisted everything all get their time to shine in ESosa's work, and he knows exactly how much neon and sparkle to use to capture the decade's boldness without descending into gaudiness. David Rockwell's set often takes a backseat to the costumes, but overall the show has a cohesive look that is tied together using Kenneth Posner's concert-influenced lighting.

On Your Feet! succeeds at what it sets out to do, which is to be an enjoyable piece of escapist entertainment. Ana Villafañe leads an excellent cast of singer/dancers in large scale production numbers set to some of the catchiest songs of the late 80s and early 90s, and like the Estefans' music the show is both upbeat and life-affirming. Those who go in with the right set of expectations will be surprised by how much fun they can have, and those who want their musicals with a bit more meat on their bones probably won't be all that interested in the first place.

A Broadway "Tradition" Continues

Review: Fiddler on the Roof

Danny Burstein as Tevye in the latest Broadway revival of Fiddler on the Roof.

How does one reinvent a show centered around the concept of tradition? It is the title of the glorious opening number of Fiddler on the Roof, where Jewish milkman Tevye speaking directly to the audience about the virtues of the well-delineated societal rules in his little town of Anatevka. Throughout the show Tevye and his daughters deviate from the old ways with only the purest of intents, and yet it still causes an enormous amount of trouble for the well-meaning clan. Those traditions end up providing the characters comfort in times of great adversity, and the show ultimately seems to argue that while some change is inevitable there's no need to completely ignore the old way of doing things. Oddly enough, it is a lesson director Bartlett Sher attempts to teach while simultaneously ignoring, as the least successful aspects of this generally first rate revival (the show's fifth) are the areas where Sher most obviously breaks from the traditional way of mounting the show.

Sher has made quite the name for himself staging critically heralded revivals of both plays and musicals, having found particular success with the works of Rodgers and Hammerstein. With Fiddler on the Roof, he once again sweeps away the cobwebs from a script some may view as dated and makes it compelling and relevant. Yet unlike his Tony-winning South Pacific or The King and I, Sher's directorial hand is more apparent here, and not always for the better. He hasn't changed a word of the script, but he has awkwardly grafted a wordless modern dress framing device onto the show that doesn't add anything to the preexisting text. The production design is also purposefully deconstructed for reasons that aren't at all apparent, occasionally distracting from rather than adding to the storytelling.

Now none of the above is meant to in any way imply that Sher's direction is bad. It is often outstanding, breathing fresh life into a show many know by heart. Sher has guided his cast to fully lived performances that feel fresh, exciting, and even slightly dangerous. He has a near matchless understanding of pacing, giving each story beat room to breathe while also keeping everything moving along at such a steady clip the show never drags despite its three hour runtime. He has a stellar eye for simple yet powerful stage pictures, and seamlessly switches gears between broad comedy and heartwrenching drama. Sher has never directed a funnier sequence than "Tevye's Dream," and he his storytelling has rarely been as devastating as it is during the show's emotional climax, which makes his few missteps all the more noticeable.

Sher is aided, as always, by an impeccable cast of theatrical greats working at the top of their game. Headlining this Fiddler is five-time Tony-nominee Danny Burstein in the role of Tevye, and the veteran character actor has arguably never been better. While it would be disingenuous to call Burstein's performance understated - among other things, he gets to play more comedy than he's been given in any role since Adolfo in The Drowsey Chaperone - his performance is not as immediately flashy as one might expect from a role written for the famously outsized Zero Mostel. But it is a deeply felt, fully realized portrayal that builds and builds to an emotional sucker punch of a climax, when one of his beloved daughters decides to marry outside the faith. Burstein is alternatively jovial and genuinely imposing as the role demands, and he handles all the areas in between with such effortless aplomb you forget he's acting at all. His voice also perfectly suits the show's famous score, and his exuberant performance of "If I Were a Rich Man" is every bit the showstopper such a gifted performer deserves.

Burstein's performance forms the blueprint that the rest of the cast follows, as many of his fellow actors also initially appear unassuming while laying the groundwork for what are revealed to be deeply affecting performances. Jessica Hecht's wife Golde at first skews very harsh and shrewish (you definitely understand why Tevye would be scared of her), but she leavens her work with enough moments of tenderness that it is genuinely touching when she struggles to answer Tevye's question of "Do You Love Me?" She is also heartbreaking during the final few scenes, as the aftermath of her third daughter's marriage fully hits.

As daughters Tzietel, Hodel, and Chava respectively, Alexandra Silber, Samantha Massell, and Melanie Moore all have their moments, although it takes them a bit longer to click into their roles. Their performance of "Matchmaker, Matchermaker" isn't quite the homerun you'd expect, but to their credit all three act the song so well it makes you hear the well-known lyrics anew.  Massell also does a phenomenal job with Hodel's "Far From the Home I Love," making the song a late-evening highlight. The structure of the show doesn't provide as much for Adam Kantor (Motel), Ben Rappaport (Perchik), and Aaron Young (Fyedka) to do as the daughter's respective spouses, but all three actors make strong impression with the material they do have. And if Alix Korey's Yente the Matchmaker isn't quite the scenery chewer you'd expect, she is nevertheless absolutely hysterical.

Few shows have proven as durable and iconic a part of the musical theatre cannon as Fiddler on the Roof, and Bartlett Sher has staged this latest revival in a way that reminds even the skeptics how Fiddler achieved that status in the first place. Sher also continues to bring out the best in some of the industry's top talent, guiding Burstein to what may well be considered his crowning achievement. The entire production seems to exist primarily to showcase the actor's many talents, and yet he remains so giving and supportive of his fellow performers he never overshadows the story they are all trying to tell. (I try to leave talk of Tony Awards out of reviews, but if Burstein doesn't finally win an acting trophy for this I don't know what more he can possibly do.) And as always, it is refreshing and invigorating to see such a classic approached with such lavish attention to detail, from the gloriously full orchestra to the finely detailed costumes. Some traditions are worth keeping, and if Fiddler continues to be this entertaining and moving I see no problem with continuing to revive the show every ten years.

The Best Shows of 2015: Part II

With the impending arrival of 2015, it's time to take a look back at the year that was and assess some of the highlights of the year in theatre. I've already shared 5 of my Best of 2015 picks in my previous post, and today it is time to reveal my picks for the Top 5 shows of the past calendar year. As always, this list is limited to productions which officially opened in 2015 and which I actually saw, so think of it more as a personal favorite list rather than a definitive ranking.

Without further ado, here are my favorite theatrical experiences of 2015!

5) Honeymoon in Vegas

Rob McClure (center) and the cast of Honeymoon in Vegas

Jason Robert Brown just can't seem to catch a break when it comes to his Broadway shows. Just like the criminally ignored Bridges of Madison County (my absolute favorite show of 2014), Honeymoon in Vegas was another stellar musical that just couldn't find an audience. Brown's first attempt at full blown musical comedy, this delightful Vegas-set tale featured a brassy, big band score and the kind of witty, tongue-twisting lyrics the composer is known for. The cast was first rate, especially Rob McClure and Brynn O'Malley as the romantic leads, so I couldn't begin to tell you why the well-reviewed show didn't do better at the box office. Maybe it was the prolonged two-month preview period, which made the show seem like old news by the time it opened in mid-January. Maybe it was the presence of Tony Danza in the cast, which many people seemed to mistake for stunt casting even though the TV star actually turned in a rather appealing performance. Thankfully the show received a cast album, and I suspect that like many of Brown's other works this is a show that will be discovered and cherished by many musical theatre fans for years to come.

4) The Color Purple

Jennifer Hudson leads the cast of The Color Purple in a rousing rendition of "Push Da Button."

There are many reason to praise God for John Doyle's absolutely stunning revival of The Color Purple, but perhaps the biggest blessing of this scaled back version is it has allowed critics to see what I saw while rushing the original Broadway production 10 years ago: The Color Purple is a superbly written emotional sucker punch of a show, a harrowing but ultimately joyous celebration of life and overcoming adversity. This production also finally brought Jennifer Hudson to Broadway, something we've all been waiting for since her Oscar-winning turn as Effie White in the Dreamgirls film. And while Hudson is excellent, the talk of the town is sure to be British newcomer Cynthia Erivo, who blows the roof off the Bernard B. Jacobs Theatre as the beleaguered Miss Celie. Erivo inhabits the role with a commanding stage presence that far exceeds her diminutive frame, and her powerhouse voice turns mere songs into soul rattling epiphanies set to music. Even if the rest of the production was garbage, this Color Purple would be worth seeing for Erivo alone. The fact that the rest of the cast often matches her awe-inspiring commitment and intensity makes this easily one of the best shows of the year.

3) The Hunchback of Notre Dame

Michael Arden and Ciara Renee in Paper Mill Playhouse's The Hunchback of Notre Dame.

The best Disney Theatrical show I've ever seen didn't even make it to New York, instead playing across the river in New Jersey's Paper Mill Playhouse. The long-rumored stage adaptation of Disney's Hunchback of Notre Dame took the most problematic film of the studio's Animation Renaissance and de-Disneyfied it, returning to the darker, more melancholy tone of Victor Hugo's original novel. This approach made all the difference, resulting in a decidedly adult show that didn't shy away from the nastier implications of this Parisian-set tragedy. In providing the villainous Claude Frollo with more morally complex, clearly defined motivations, he actually emerged as an even more monstrous and menacing villain than the cartoonishly evil character in the film (a quality augmented by Patrick Page's excellent performance). And let's not forget Michael Arden's wonderfully effective and thrillingly sung take on the title character, nor Ciara Renee's beguiling gypsy Esmeralda. I ultimately understand Disney's decision not to move the show to Broadway (it is not one of the family-friendly spectacles the company has become known for), but that doesn't lessen the sting of the show's all too brief run. I'm just glad I made the trek out to Jersey before it closed.

2) The King and I

Tony-winner Kelli O'Hara and Tony-nominee Ken Watanabe in Lincoln Center's The King and I. I'll say it again: TONY-WINNER KELLI O'HARA!

Simply glorious. That's the best way to describe the absolutely transcendent Lincoln Center Theatre production of Rodgers and Hammerstein's The King and I, one of the most lavishly produced and lovingly crafter musical revivals I've ever seen. From the second the radiant (now Tony-winner!) Kelli O'Hara makes her entrance on the imposing prow of her ship to the final tableau of Anna and the King of Siam surrounded by the next generation, this expertly handled production remains riveting throughout its three hour runtime. Director Bartlett Sher's genius lies in his ability to radically alter the way a show is performed without appearing to do anything at all, to the point where you leave the theatre convinced his take on the material is what the authors had always intended. This King and I functions as both a family friendly musical entertainment and a highly complex character drama, directly tackles issues such as female empowerment and the nature of rule while providing all the eye-popping visuals audiences have come to expect in a modern musical. Anchoring it all is O'Hara and the supremely talented cast, which also includes the hypnotic Ruthie Ann Miles as the King's primary wife, Lady Thiang. This is as good a production of the Rodgers and Hammerstein classic as we're ever likely to see, and it will hopefully run for a good long while.

1) Hamilton

You know your show has a devoted following when a minor character like Peggy Schuyler (who has maybe 10 lines total) has her own rabid fanbase.

How could anything but Hamilton top my list of 2015's best shows? Lin-Manuel Miranda's hip-hop magnum opus has dominated Broadway websites for the better part of the year, while also crossing over into pop-culture in a way few musicals ever do. Yet the reason Hamilton tops my personal list is not its record-breaking financial success, nor its near ubiquity in the theatrical conversation. The show earns the title of Best Show of 2015 due to the fact that when you strip away all the hype, you are left with a near-perfect piece of theatrical writing, brazenly adventurous and yet hugely respectful of all that has come before. The score is a compulsively listenable work of genius, instantly captivating and yet so richly nuanced that new surprises reveal themselves with each repeated hearing. The cast is simply astounding, from Miranda's commanding performance in the title role to Leslie Odom, Jr.'s star making turn as Aaron Burr to the scene stealing Daveed Diggs in the dual roles of the Marquis de Lafayette and Thomas Jefferson. And let's not forget Phillipa Soo's deeply felt performance as Eliza Hamilton or Renee Elise Goldsberry's revelatory (and Tony-worthy) work as Eliza's sister Angelica. Everyone from the top billed stars to the ensemble - one of the hardest working group of dancer/singers on Broadway - give 110% from start to finish, executing Thomas Kail's brilliant staging and Andy Blankenbuehler's hard-hitting choreography flawlessly. Do whatever you have to secure a ticket and witness theatrical history being made, as Hamilton may well prove to be the Best Show of the Decade.


And that wraps up my look back at the Best Shows of 2015. Looking back, the breadth of the type of shows which have been produced, and their artistic daring, gives me great hope for the future of the industry. This is a year where producers took some major risks, and many of them paid off not only artistically but commercially. An intimate musical about a lesbian coming to terms with her closeted father won the Tony and turned a profit, and a hip-hop musical with a multi-ethnic cast has become the most critically and commercially successful musical in years. Here's hoping for a 2016 that is equally varied and artistically ambitious, and be sure to keep checking Broadway Etc. for coverage of all the latest and greatest the New York theatre scene has to offer.

Happy New Year!

The Best Shows of 2015: Part I

Despite the unseasonably warm weather New York City has been experiencing, it is in fact the end of December. With the new year just around the corner, it is time for me to look back and select my 10 favorite shows of 2015. The qualifications for making this list are simple: the production must have had its official opening night during the 2015 calendar year, and it must have been seen by yours truly. That means that certain praised productions are automatically ineligible, and therefore this should by no means be viewed as a comprehensive/final judgment on the quality of all theatre that happened this year.

With those caveats in place, here are 5 of the productions I enjoyed the most this year, with my Top 5 selections to follow in the next post:

10) Dames at Sea

Eloise Kropp and Cary Tedder dancing up a storm in Dames at Sea.

Given the lukewarm reviews and positively abysmal box office, I am clearly in the minority when it comes to my enjoyment of the first Broadway mounting of the 40-year-old Dames at Sea. And to be fair, I understand where a lot of the most common critiques of the show are coming from. It is unfailing earnest, often to the point of ridiculousness, but that's kind of the point. I think the problem with Dames is that it's spoofing a genre (1930s movie musicals) that isn't really in the public consciousness anymore, which automatically makes it feel dated and irrelevant to many. But that perception does nothing to take away from the polish and professionalism with which the cast delivers the delightfully daffy material, or the gee whiz excitement of seeing director/choreographer Randy Skinner creates some of Broadway's most thrilling tap routines with just 6 superbly dancers. And it certainly doesn't undermine the sheer comic brilliance of Lesli Margherita's performance as Mona Kent, whose work as a demanding diva is one of the most consistently hilarious performances of the year. Anyone with the slightest inclination to see the show should really make the effort to get out to the Helen Hayes Theatre before the final curtain falls this Sunday; you won't be disappointed.

9) Spring Awakening

Daniel N. Duran and Krysta Rodriguez in Deaf West's revival of Spring Awakening.

Unlike many people of my generation, I am not particularly enamored with Spring Awakening as a show. While the music has an undeniable if slightly repetitive beauty, once you get past the fact that such frank exploration of teenage sexuality is unusual in a musical the show really isn't saying anything all that insightful. And yet the current Deaf West revival of the 2007 Tony-winner is so viscerally impactful and unerringly gorgeous that a lot of the show's flaws fall away, leaving what may be the best possible version of the work. The addition of American Sign Language to the story creates an extra layer of purposeful abstraction that frees Spring Awakening from of the burden of being a book musical and turns it firmly into an expressionistic mood piece, a tonal shift that supports the script and music much better. You no longer have to intellectually understand what a "Mirror-Blue Night" is, because the accompanying visuals are so impactful they convey the feeling of that night for you. And when the cast of hearing and deaf actors comes together to sing/sign about how they're "Totally Fucked," even the most curmudgeonly of audience members will be right there with them, reliving the awkward frustration of their youth.

8) Fun Home

The cast of Fun Home on Broadway.

For me, Fun Home is actually a somewhat problematic production. All of the individual elements are stellar, from Jeanine Tesori's adventurous score to Lisa Kron's nuanced book to Sam Gold's first-rate direction. Then there are the first rate performances, which saw practically the entire cast nominated for Tony Awards and Michael Cerveris taking home Best Actor in a Musical for his revelatory, transformative performance as the protagonist's closeted gay father. And yet at the end of the evening, I wasn't nearly as moved as it seemed I should be. All of that said, I would be a fool to deny the artistic excellence of the production, to say nothing of its significance in the contemporary theatrical landscape. The show pushes the boundaries of what a commercial Broadway musical can be, tackling issues of sexuality and identity when they are at the top of the national consciousness while also providing a much needed, highly visible platform of the work of female writers. My heart of stone aside, the show certainly deserves all of the success it has found, and is definitely something any and all interested parties should check out.

7) The Iceman Cometh

Brian Dennehy and Nathan Lane in the BAM production of The Iceman Cometh.

Eugene O'Neill's The Iceman Cometh represents theatre at its most epic. This 4 act, nearly 5 hour long American tragedy is not for the faint of heart, requiring an extremely compelling and talented cast to maintain the audience's interest for the duration of its marathon runtime. This year's revival of the piece at the Brooklyn Academy of Music, starring Nathan Lane and Brian Dennehy, remained endlessly compelling right up to the bitter end thanks to the skill of the performers and the unwavering hand of director Robert Falls. While the entire ensemble was excellent, Lane and Dennehy were the standouts, with both actors at the top of their game and Lane in particular proving why he is one of the industry's most invaluable character actors. Lane's deeply felt portrayal of tragic jokester Hickey was an expertly handled balancing act between easygoing charm and frightening pathos, and should the briefly rumored Broadway transfer ever materialize it would almost certainly net the actor his 3rd Tony Award.

6) The Visit

The Visit on Broadway was every bit as bizarre as this picture suggests, and all the better for it.

By all rights, The Visit shouldn't exist. This problem-plagued musical, originally conceived as a vehicle for Angela Lansbury back in 2000 before being retooled for perpetual Kander and Ebb muse Chita Rivera, was revised multiple times following multiple out of town tryouts and false starts that continually delayed plans for a Broadway premiere. Add to the behind the scenes drama the seemingly off-putting subject matter (the world's richest woman returns to her hometown with two eunuchs in tow, offering to solve all the town's financial troubles in exchange for the execution of her former lover), and only a very brave group of producers would have even considered backing the eventual Broadway mounting. Thank goodness they did, for while the show failed to find any commercial success, it was so gloriously strange and surreal that it will certainly to stick with those lucky enough to see it for many years to come. Kander and Ebb's final score is not as instantly memorable as their work on Cabaret or Chicago but is their most artistically mature, and John Doyle's sparse production only sharpened and clarified the narrative's otherworldly feeling. Like Kander and Ebb's best work, The Visit refused to pander to its audience, instead consistently challenging its viewers while at the same time remaining decadently entertaining and thrillingly unpredictable.



Be sure to check back tomorrow for Part II of my list!