Evita (The SOB Review) - Theater Latté Da, McKnight Theatre, Ordway Center for the Perform-ing Arts, St. Paul, Minnesota
***1/2 (out of ****)
Rollin', rollin', rollin', rollin', rollin', rollin', rollin', rollin', rollin', rollin', rollin', rollin'...
So goes "And The Money Kept Rolling In," from
Evita. It's an appropriate metaphor for the breathtaking, rapid-paced revival currently being mounted by the Twin Cities'
Theater Latté Da.
Helmed with muscular invention by estimable director
Peter Rothstein,
Evita could very well be his most ambitious work yet.
Evita not only steams across the stage like a speeding locomotive, but it also manages to soar to high-flying heights for this highly innovative theatre company.
Never one to rest on his laurels as one of the Minnesota theatre's premier directors, Rothstein doesn't seem content to let his audience rest either. Indeed,
Evita zips by in a quick two hours and twenty minutes (intermission included). Much of the breathtaking propulsion is set by choreographer
Michael Matthew Ferrell's entrancing tango, in which every actor is summoned to partake.
Fortunately, Rothstein has found exceptional talent to keep up with nary a breath.
As
Evita herself,
Zoe Pappas offers a towering if often overpowering performance. But that seems completely justified given Eva Peron's own commanding reach for fortune and fame. Pappas invites them in as a first-rate triple threat. She demonstrates enormous confidence and competence in finding the Argentine First Lady's subtle shadings. Pappas' vibrant singing voice could easily fill an auditorium ten times the size of the McKnight, and her dancing prowess is one rarely seen in leading ladies.
Yet it's the enormously charismatic
Jared Oxborough whose little touch of star quality grabs hold of you long after you leave the theatre. As Che, Oxborough infuses his narration with so much star power that it's a wonder he's not performing on a Broadway stage. Blessed with natural charm and an intoxicating singing voice, Oxborough makes it seem so effortless. It came as a shock for me to learn that this gifted actor recently graduated from college where he was better known for his agility on the ice (as in hockey). He practically skates circles around the rest of the cast.
While not perfect, there is much to adore about this
Evita -- arguably the best and most satisfying of musical collaborations between
Andrew Lloyd Webber and
Tim Rice. Musical director
Denise Prosek manages to make her quartet sound like a full orchestra.
Rick Polenek's monumental scenic design sets a new benchmark in excellence for the company, supplemented handsomely by
Paul Whitaker's wonderfully evocative lighting. And
Rich Hamson's impeccable costume design ensures that this
Evita is dressed to the nines.
As for the tune referenced at the top?
Well, fortunately for Twin Cities audiences, there is no blink or you'll miss it. Excellent advance ticket sales already came rolling in, enabling
Evita to extend its St. Paul engagement by another two weeks through November 14, 2010.
This is
Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. However, in the interest of full disclosure, please note that I am not only a donor to Theater Latté Da, but I also participate in its community advisory council. Labels: Andrew Lloyd Webber, Denise Prosek, Evita, Jared Oxborough, Minneapolis/St. Paul, Musical, Peter Rothstein, Revival, The SOB Review, Tim Rice, Zoe Pappas
Livin' Evita Loca!Sure, the pop culture wags were busy trumpeting
the news that
Ricky Martin would return (yes,
return) to Broadway in its very first revival of
Evita.
But for those of us who had the opportunity to
simply adore Michael Grandage's high-flying production when it first graced the West End a few years ago, we're absolutely thrilled that the Great White Way will finally know the name
Elena Roger. Proving that good things really do come in small packages, Roger is the real deal.
After seeing Elena Roger perform as Eva Peron in 2007, I said:
Making her spectacular West End debut is an astonishing Argentine talent, Elena Roger, who offers an exceptionally nuanced performance as Eva Peron. The compact Roger evolves right before your eyes from the flirtatious young girl seeking her ticket to Buenos Aires stardom to her role alongside Juan Peron to a physically and emotionally impaired invalid. And what a powerful, beautiful voice!
A year and a half later,
I took in a so-so London production of
Piaf. But Elena Roger made it all suddenly seem worthwhile. The reasons I recommended the show were as follows:
First is the opportunity to enjoy a live performance of the timeless songbook from the legendary "Little Sparrow" Edith Piaf. Second is to have it delivered by the abundantly assured and captivating actress Elena Roger in the title role. Just as she dazzled in last year's West End revival of Evita, once again, Roger proves a sensation. Succeeding in eerily channeling Piaf, Roger soars to make for one of the year's most extraordinary and magical performances, almost in spite of the ill-conceived production around her.
I for one can't wait to see what she does next and can only hope that Broadway is paying attention.
Fortunately, Broadway appears to have heard that clarion call.
Sure, it's crazy, perhaps in a good box office sort of way, that Ricky Martin will be portraying Che in the long overdue revival of what is arguably
Tim Rice and
Andrew Lloyd Webber's greatest work.
Yet it's the name Elena Roger that you'll be remembering most after the show opens on Broadway in 2012.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.Labels: Andrew Lloyd Webber, Broadway, Elena Roger, Evita, First Word On New Show, Michael Grandage, Musical, Revival, Ricky Martin, Tim Rice
SOB's Favorite Shows Of The Noughties: #15 - Evita (2007, Adelphi Theatre, London, United Kingdom)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. To see the best revival of the 2006-07 Theatrical Season, I had to fly across the Atlantic and visit London.
Michael Grandage's West End revival of
Evita was unequivocally stunning. I absolutely adored this high-flying, soaring production. Credit Grandage's direction and choreographer
Rob Ashford with once again revitalizing a musical in a most breathtaking, dazzling manner.
Making her spectacular West End debut was an astonishing Argentine talent,
Elena Roger, who offered an exceptionally nuanced performance as Eva Peron. The compact Roger evolved right before your eyes from the flirtatious young girl seeking her ticket to Buenos Aires stardom to her role alongside Juan Peron to a physically and emotionally impaired invalid. And what a powerful, beautiful voice!
Philip Quast brought a deceptively steely charm to his characterization of strongman Juan Peron epitomizing why he and Eva would be "surprisingly good" for one another.
Added to all of this were the newly syncopated rhythms offered by
David Cullen's lush orchestrations (particularly in songs like "Buenos Aires") for what is arguably
Andrew Lloyd Webber's best score, along with a breathtaking set design by
Christopher Oram, and the result was one of the most stellar evenings of live theatre I've enjoyed over the past ten years. It left me on a proverbial "Rainbow High."
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Andrew Lloyd Webber, Elena Roger, Evita, Michael Grandage, Musical, Philip Quast, Revival, Rob Ashford, SOB's Favorite Shows Of The Noughties
Thanksgiving: La Vie En LondonHappy Thanksgiving!
Rather than turkey this Thanksgiving, I'm in London where I'll enjoy a Little Sparrow this evening.
But rather than consuming a meal of the diminutive bird, I'll be in the audience for
Donmar Warehouse's limited West End transfer of
Pam Gems'
Piaf. While I was disappointed in "
La Vie En Rose" -- the disjointed biopic on the life of the "Little Sparrow"
Edith Piaf -- I have long been mesmerized by the late French icon's unique song stylings.
Making the
Jamie Lloyd-helmed
Piaf particularly attractive, apart from the West End Whingers' enthusiastic
endorsment, is that the breathtaking little dynamo
Elena Roger is portraying the singer. I had the great fortune and pleasure of seeing Roger in the recent West End revival of
Evita. If she's even half as wonderful
as she was as Eva Peron, I know I'll have a very magical night at the theatre.
And lest you think that I have completely forsaken a traditional Thanksgiving, rest assured that the Love Of My Life and I will be joining American friends Daniel and Donna from Kentucky and Mary Ann from California, albeit for a
traditional English champagne tea this afternoon at
Claridge's. We'll certainly be counting our blessings.
And as we do so, I'll also be giving thanks for the friendships of so many of you who are reading Steve On Broadway (SOB). Thank you for joining me here.
Happy Thanksgiving!
This is Steve On Broadway (SOB).
Labels: Edith Piaf, Elena Roger, Evita, Jamie Lloyd, La Vie En Rose, Pam Gems, Piaf, Special Messages, Thanksgiving, West End Whingers
SOB's 7 Singular Sensations Of '07 - #4: Elena RogerIntroduction: While others use the end of the year to provide their lists of the top shows of the past year, here at Steve On Broadway (SOB), I wait until the conclusion of the entire Theatrical Season to provide my official tally.
Instead, I'm once again devoting the waning days of the calendar year to celebrate SOB's Singular Sensations -- those magical live performances that have stayed with me throughout the year. During 2007, I have enjoyed, been wowed and ultimately inspired by a dazzling display of excellent performances from some of the theatre world's best actors, singers and dancers of our time.Talk about more than just a little touch of star quality.
After appearing in countless Argentinean musical productions, including a variety of Spanish-language versions of Broadway and West End hits like
Nine,
Beauty And The Beast and
Les Misérables, the diminutive spitfire known as
Elena Roger took London by storm in her glorious portrayal of
Evita.
To put it simply, I adored Roger's high-flying performance. In my
SOB Review from April, I had nothing but praise:
Making her spectacular West End debut is an astonishing Argentine talent, Elena Roger, who offers an exceptionally nuanced performance as Eva Peron. The compact Roger evolves right before your eyes from the flirtatious young girl seeking her ticket to Buenos Aires stardom to her role alongside Juan Peron to a physically and emotionally impaired invalid. And what a powerful, beautiful voice!
I've seen memorable performances of
Evita before (witness my history with
SOB's Singular Sensation #5), but Elena Roger made her Eva Peron so intoxicating that it's easy to understand why her fellow countrymen fell under her spell. While
Evita closed shortly after I caught it, London audiences have until January 5 to see Roger in the acclaimed revival of
Boeing-Boeing.
Here's toasting the South American singular sensation, Elena Roger!
This is Steve On Broadway (SOB).
Related Stories:SOB's 7 Singular Sensations Of '07 - #5: Raúl Esparza (December 28, 2007)
SOB's 7 Singular Sensations Of '07 - #6: John Gallagher, Jr. (December 28, 2007)
SOB's 7 Singular Sensations Of '07 - #7: Jennifer Holliday (December 27, 2007)
SOB's Best Of 2006-07: Best Revivals Of Musicals (May 18, 2007)
Evita (The SOB Review) (April 19, 2007)
SOB's 6 Singular Sensations Of '06 - #1: Patti LuPone (December 30, 2006)
Honorable Mentions: SOB's Singular Sensations Of '06 (December 30, 2006)
SOB's 6 Singular Sensations Of '06 - #2: Cate Blanchett (December 30, 2006)
SOB's 6 Singular Sensations Of '06 - #3: Chita Rivera (December 29, 2006)
SOB's 6 Singular Sensations Of '06 - #4: Barry Humphries (December 28, 2006)
SOB's 6 Singular Sensations Of '06 - #5: Kitty Carlisle Hart (December 28, 2006)
SOB's 6 Singular Sensations Of '06 - #6: Meryl Streep (December 26, 2006)
Labels: Boeing-Boeing, Elena Roger, Evita, London, Musical, Revival, SOB's 6 Singular Sensations Of '06, SOB's 7 Singular Sensations of '07
SOB's 7 Singular Sensations Of '07 - #5: Raúl EsparzaIntroduction: While others use the end of the year to provide their lists of the top shows of the past year, here at Steve On Broadway (SOB), I wait until the conclusion of the entire Theatrical Season to provide my official tally.
Instead, I'm once again devoting the waning days of the calendar year to celebrate SOB's Singular Sensations -- those magical live performances that have stayed with me throughout the year. During 2007, I have enjoyed, been wowed and ultimately inspired by a dazzling display of excellent performances from some of the theatre world's best actors, singers and dancers of our time.With all due and considerable respect to the talented
David Hyde Pierce (recognized with an "Honorable Mention" among my
SOB Singular Sensations of 2006),
Raúl Esparza’s breathtaking performance of “Being Alive” alone should have been enough for him to win the Tony for making
Company's audiences hyperventilate.
In my
SOB Review last March, I noted:
I was struck by the inventive and symbolic ways (director John Doyle) isolates Bobby, played by a breathtakingly real Raúl Esparza, who sings angelically.
In my "Best of 2007" round-up of the Best Musical Revivals, in which his talents helped the show capture the fourth spot, I said:
In Company, Esparza soars to spine-tingling new musical heights. In the climax when finally taking a seat at the piano, his Bobby is ready to join the human race in a way he's never before experienced. Ultimately, Esparza's finely calibrated performance melted his way into my heart. I can't think of any actor I've seen on the Broadway stage this past year who is more deserving of a Tony Award than he -- this is one performance no serious musical theatre lover can afford to miss.
The first time I ever caught Esparza was in 1999. He was absolutely magnificent portraying Che in a wonderful touring revival of
Evita. And while I have not yet had the opportunity to see the revival of
The Homecoming that feaures Esparza's dramatic debut, I take heart from
Ben Brantley's review that his truly is a "benchmark performance."
Perhaps Raúl Esparza will be a repeat in next year's round-up. In the meantime, here's toasting this superb singing singular sensation.
This is Steve On Broadway (SOB).
Related Stories:SOB's 7 Singular Sensations Of '07 - #6: John Gallagher, Jr. (December 28, 2007)
SOB's 7 Singular Sensations Of '07 - #7: Jennifer Holliday (December 27, 2007)
SOB's Best Of 2006-07: Best Revivals Of Musicals (May 18, 2007)
Company (The SOB Review) (March 2, 2007)
SOB's 6 Singular Sensations Of '06 - #1: Patti LuPone (December 30, 2006)
Honorable Mentions: SOB's Singular Sensations Of '06 (December 30, 2006)
SOB's 6 Singular Sensations Of '06 - #2: Cate Blanchett (December 30, 2006)
SOB's 6 Singular Sensations Of '06 - #3: Chita Rivera (December 29, 2006)
SOB's 6 Singular Sensations Of '06 - #4: Barry Humphries (December 28, 2006)
SOB's 6 Singular Sensations Of '06 - #5: Kitty Carlisle Hart (December 28, 2006)
SOB's 6 Singular Sensations Of '06 - #6: Meryl Streep (December 26, 2006)
Labels: Broadway, Company, Curtains, David Hyde Pierce, Evita, Musical, Raul Esparza, Revival, SOB's 6 Singular Sensations Of '06, SOB's 7 Singular Sensations of '07, The Homecoming
SOB’s Best Of 2006-07: Top Ten Of The YearYou've endured my "Best Of" lists of everything from the year's best New Musicals and Plays to best Revivals of Musicals and Plays to best Theatrical Events.
Now, before I launch into which Broadway shows would get my Tony vote if I
could actually vote, here’s how the
best of the best rank in my personal countdown of the “10 Best” theatrical productions I saw over the course of the 2006-07 Theatrical Season:
10 - A Moon For The Misbegotten (Brooks Atkinson Theatre, New York, NY) – Eve Best and Kevin Spacey are as symbiotic as any two actors I’ve witnessed and provide one of the most astonishing and affecting hours I’ve experienced from live theatre all year.
9 - The Prime Of Miss Jean Brodie (Acorn Theatre, New York, NY) – A hauntingly beautiful revival of
Jay Presson Allen’s pre-World War II drama that had me spellbound.
8 - The Unmentionables (Downstairs Theatre, Steppenwolf, Chicago, IL) - Playwright
Bruce Norris' compelling brilliance was woven throughout his riveting tale that stands good intentions on its head.
7 - Barry Humphries & Friends: Back With A Vengeance! (Arts Centre, State Theatre, Melbourne, Victoria, Australia) – Three hours worth of ingenious wit and wisdom from one of Australia's true treasures, Barry Humphries.
6 - Curtains (Ahmanson Theatre at the Music Center, Los Angeles, CA) – An exceedingly smart, exceptionally funny and a thrilling theatrical finale for the legendary songwriting team of
John Kander and the late
Fred Ebb.
5 - Sonia Flew (Downstairs Theatre, Steppenwolf, Chicago, IL) – A splendid, soaring play that left me positively chilled.
4 - The Real Thing (McGuire Proscenium Stage, Guthrie, Minneapolis, MN) – An eminently smart and deliciously acccessible revival that was a joy to behold.
3 - Gypsy (Ravinia Festival, Highland Park, IL) –A mesmerizing, show-stopping Patti LuPone soared to new heights with an unforgettable, heart-wrenched rendering of Mama Rose.
2 - Evita (Adelphi Theatre, London, United Kingdom) – The best revival of a musical from the past year that was dazzling.
1 - Grey Gardens (Walter Kerr Theatre, New York, NY) – A completely satisfying triumph of the first order – bravo to Christine Ebersole, who should win the Tony.
This is Steve On Broadway (SOB).
Labels: A Moon For The Misbegotten, Barry Humphries, Curtains, Evita, Grey Gardens, Gypsy, SOB's Best of 2006-07, Sonia Flew, The Prime Of Miss Jean Brodie, The Real Thing, The Unmentionables
SOB's Best Of 2006-07: Best Revivals Of MusicalsDuring the 2006-07 Theatrical Season, I took in twelve different revivals of musicals from here to London. In fact, I even managed to see two very distinct revivals of the time-honored classic
Gypsy -- one at Chicagoland's Ravinia and the other in Minneapolis.
Among that dozen were some real gems. Here's my personal "5 Best" list of the musical revivals that thrilled me over the past twelve months:
1 - Evita (Adelphi Theatre, London, United Kingdom)
To see the best revival of the past year, I had to fly across the Atlantic and visit London.
Michael Grandage's West End revival of
Evita is unequivocally stunning. I absolutely adored this high-flying, soaring production. Credit Grandage's direction and choreographer
Rob Ashford with once again revitalizing a musical in a most breathtaking, dazzling manner.
Making her spectacular West End debut is an astonishing Argentine talent,
Elena Roger, who offers an exceptionally nuanced performance as Eva Peron. The compact Roger evolves right before your eyes from the flirtatious young girl seeking her ticket to Buenos Aires stardom to her role alongside Juan Peron to a physically and emotionally impaired invalid. And what a powerful, beautiful voice!
Philip Quast brings a deceptively steely charm to his characterization of strongman Juan Peron epitomizing why he and Eva would be "surprisingly good" for one another.
Add to all of this the newly syncopated rhythms offered by
David Cullen's lush new orchestrations (particularly in songs like "Buenos Aires") for what is arguably
Andrew Lloyd Webber's best score, along with a breathtaking set design by
Christopher Oram, and the result is one of the most stellar evenings of live theatre I've enjoyed over the past twelve months. It left me on a proverbial "Rainbow High."
Click here for The SOB Review of Evita.2 - Gypsy (Ravinia Festival, Highland Park, IL)
It seemed entirely apropos that this concert version of
Stephen Sondheim’s seminal classic
Gypsy -- co-written, of course, by
Jule Styne and
Arthur Laurents -- would be stripped down to the basic essentials. But with theatre legend
Patti LuPone in the lead role of Mama Rose, this
Gypsy proved to be anything but bare. This is
the role LuPone was born to play.
Instead of an over-the-top Mama that's all too easy to do, LuPone proffered an exquisitely nuanced performance that simultaneously excited and repulsed, making one of Broadway’s most memorable roles hers for keeps. LuPone commanded the stage without overpowering it.
Near the end, LuPone took her devastated Rose to new heights with an unforgettable, heart-wrenched rendering of “Rose’s Turn,” which proved to be, quite literally, a showstopper of the first order. A most affectionate audience interrupted with a long, sustained standing ovation. Given how mesmerizing her performance was in Gypsy, it's no wonder that
New York City Center Encores! is ensuring a wider audience this July. Go see this show!
Click
here for The SOB Review of
Gypsy.
3 - Mame (The John F. Kennedy Center for the Performing Arts, Eisenhower Theatre, Washington, DC)
The
Kennedy Center's spirited revival of
Mame had an exuberant brilliance that glistened throughout. Director
Eric Schaeffer expertly moved this musical's story along almost as quickly as
Christine Baranski's costume changes. The heart and soul of this show, of course, came from
Jerry Herman's beguiling score and book by
Jerome Lawrence and
Robert E. Lee.
Warren Carlyle's intricate choreography from one of the show's earliest moments on "It's Today" let you know that this was going to be one heck of a ride.
In a bravura performance, Baranski more than commanded the stage, capturing
Mame's "live, live, live" essence with gusto. The queen of perfect timing, Baranski asserted herself, whether in delivering a comic line or providing a deadpan look or hoofing it with the best of them. Coupled with a gorgeous singing voice, this multi-talented actress possessed the charm, wit and poise to make hers a most triumphant and confident
Mame.
Mame proved a feast for the senses and anyone who wanted to relive the glory of old-fashioned musical genius. More importantly,
Mame provided a celebration of tolerance and the most American of ideals: the pursuit of happiness. It's just a shame this production never found its way to Broadway.
Click here for The SOB Review of Mame.4 - Company (Ethel Barrymore Theatre, New York, NY)
Company is director
John Doyle's latest Broadway revival of a
Stephen Sondheim musical to employ actors doubling as musicians (or is it the other way around?). Regardless, packed with some of my favorite
Stephen Sondheim tunes and some riveting performances, I was mesmerized. This revival certainly deserves a much wider audience than it's currently attracting.
I was struck by the inventive and symbolic ways Doyle isolates Bobby, played by a breathtakingly real
Raúl Esparza, who sings angelically. Even the elegant simplicity of
David Gallo's set design with its ingenious ice cube boxes underscores the cold reality of Bobby's isolation.
In
Company, Esparza soars to spine-tingling new musical heights. In the climax when finally taking a seat at the piano, his Bobby is ready to join the human race in a way he's never before experienced. Ultimately, Esparza's finely calibrated performance melted his way into my heart. I can't think of any actor I've seen on the Broadway stage this past year who is more deserving of a Tony Award than he -- this is one performance no serious musical theatre lover can afford to miss.
Click here for The SOB Review of Company.5 - Mother Courage And Her Children (Delacorte Theater, New York, NY)
One thing was certain in the stunning, if sometimes uneven,
Tony Kushner adaptation of
Bertolt Brecht’s
Mother Courage And Her Children. It provided so many surprises on so many creative levels that it was hard to believe that this was a
free production. Kushner served up an astoundingly humorous and disarmingly musical depiction of how and why ordinary people support war. Thanks in part to the direction of
George C. Wolfe,
Mother Courage And Her Children resonated with ample allegories to America’s own ongoing, seemingly endless military conflicts in an altogether human, profoundly personal fashion.
At its best, the show was breathtakingly excellent. But given the sheer enormity of the production, there were long pauses where the show was disjointedly incoherent, and its often heavy-handed demagoguery sometimes backfired in a surprising fashion.
Not surprising was how easily
Meryl Streep could captivate, thus making the three-hour running time breeze by. Indeed, whenever this icon of American acting brilliance was on the stage, she firmly held command. Given the complexity of her title character, there are few actresses who could pull off the phenomenal feat Streep accomplished. And did I mention she can sing? No wonder she's been tapped for the upcoming silver screen version of
Mamma Mia!Click here for The SOB Review of Mother Courage And Her Children.Honorable Mentions:Despite the number of musical revivals I saw over the past year, only one merits an honorable mention:
- Carousel (Southern Theatre, Minneapolis, MN) -- Director Ben Krywocz largely succeeded in this charming, yet elegantly austere Nautilus Music Theater revival of Rodgers and Hammerstein’s Carousel. Nearly every element that makes this a visually arresting reinvention comes from the performances themselves, derived from one of the best scores from the canon of the legendary songwriting duo as well as from the gracefully balletic choreography of Brian Sostek and Megan McClellan. This Carousel spins best when the entire ensemble takes to the stage. Given the abundance of truly stunning talent, it’s hard to believe you’re actually watching the work of a frugal theatre company. (Click here for The SOB Review of Carousel)
What were the best revivals of musicals you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.
Also, don't forget to vote for the shows you believe will win in each of the four major Tony Award categories: Best Musical, Best Play, Best Revival of a Musical and Best Revival of a Play. You'll find all four polls on the right-hand side of Steve On Broadway.
This is Steve On Broadway (SOB).
Click here for Company tickets.Click here for Evita tickets (playing through May 26).Click here for Gypsy tickets.Related Stories:SOB's Best Of 2006-07: Best Revivals Of Plays (May 16, 2007)
The SOB Five "Worst" Of 2006-07 (May 14, 2007)
SOB's Best & Worst Of 2006-07 Theatre Season (May 14, 2007)
SOB's Best of 2005-06: #1 - Theater Of The New Ear (May 30, 2006)
SOB’s Best of 2005-06: #2 – Guys And Dolls (May 26, 2006)
SOB’s Best of 2005-06: #3 – Hedda Gabler (May 25, 2006)
SOB’s Best of 2005-06: #4 – A Blameless Life (May 24, 2006)
SOB’s Best of 2005-06: #5 – Reeling (May 23, 2006)
SOB’s Best of 2005-06: #6 – “MASTER HAROLD”…And The Boys (May 21, 2006)
SOB’s Best of 2005-06: #7 – Love Song (May 19, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (May 18, 2006)
SOB's Best of 2005-06: #9 - The Well-Appointed Room (May 17, 2006)
SOB's Best of 2005-06: #10 - Sweeney Todd (May 15, 2006)
SOB's Best and Worst of 2005-06 Theatre Season (May 12, 2006)
Flashback: Best of 2004-05 (May 26, 2006)
Flashback: Best of 2003-04 (May 25, 2006)
Flashback: Best of 2002-03 (May 25, 2006)
Flashback: Best of 2001-02 (May 24, 2006)
Flashback: Best of 2000-01 (May 23, 2006)
Labels: Best Revivals of Musicals, Broadway, Carousel, Company, David Mamet, Evita, Gypsy, Mother Courage And Her Children, Musical, SOB's Best of 2006-07
Theatre Etiquette, Part Two
You see, right during the middle of the performance, something occurred that I've never before experienced in a theatre. It came from the audience. It blew me away.
As the two fine actors were attempting to soar to new heights on the stage, one audience member selfishly put himself way above everyone else in that theatre by keeping his cell phone turned on.
It wasn't just that the cell phone went off, mind you. The walkie talkie feature was active, allowing the self-absorbed "patron," along with everyone else including the actors, to hear his companion's conversation starter. This was absolutely unforgivable. The individual did eventually leave the confines of the theatre (so sorry if the show was interrupting your conversation!) -- I can only hope that the theatre forbid him entry back into the show.
Incredibly enough, there is a federal law that by extension forbids the blocking of cell phone signals. This arcane, antiquated law -- the Communications Act of 1934, section 333 -- makes it illegal to interfere with radio communications. But it was enacted long before anyone fathomed that virtually every individual could be a walking, talking radio transponder thanks to breakthroughs in communications technology. Until an exemption is granted by either the FCC or Congress, stage and movie theatres alike are barred from blocking cell phone signals.
Until then, what is it with
people anyway? As
I noted last November, I'm continually amazed at the number of people who forget that they're no longer in the comfort of their own living room when they go to see a live stage performance.
Cell phones go off, people have
conversations (at my recent visit to London's
Wicked, actual
spoken conversations were taking place all over!), they unwrap candies, some insist on text messaging or scrolling through their BlackBerrys, a couple take flash photos and a few even hum along to the musical score (I had to tell the lady sitting behind me at London's
Evita to please be quiet --
she was offended!).
As my SOB Poll from last November/December shows, I'm not alone in destesting appalling behavior.
It's bad enough for those of us sitting in the audience, but these jerks need to give some consideration to the actors. Lest the buffoons think that no one on stage can hear or see them, think again. Steppenwolf's excellent ensemble member
Tracy Letts lets 'er rip with a
well-founded denunciation of all dummies who take it upon themselves to single-handedly ruin the theatre experience for everyone else, including the actors.
If you're going to behave badly, stay home where you belong.
I'd love to hear about your personal experiences with lapses in good theatre etiquette.
This is Steve On Broadway (SOB).
Labels: Evita, K2, SOB Poll, Steppenwolf, Theatre Etiquette, Tracy Letts, Wicked
Evita (The SOB Review) - Adelphi Theatre, London, United Kingdom**** (out of ****)Last weekend, I flew to London to see the
Michael Grandage's excellent revival of
Evita before it closes in May. I absolutely adored this high-flying, soaring production. It is by far one of the best shows I've seen throughout the past year.
Credit Grandage's direction with once again revitalizing a musical in a most breathtaking, dazzling manner. As in 2005's revival of
Guys And Dolls, Grandage has teamed up with choreographer
Rob Ashford to effectively and vivaciously move along the story, this time of Eva Duarte Peron.
Fortunately, unlike in the film version, the darker side of the Perons remains intact within the book; Ashford's mesmerizing choreography brings the backstabbing struggle for power within Argentina's military to life, showing Juan Peron as a man who could only be trusted at a soldier's own peril. And of course, given that the clawing Evita herself was no saint, Grandage practically installs a revolving door on her bedroom for the rousing number "Goodnight And Thank You," and later rhapsodically illuminates how readily Peron's first lady enjoys the spoils of her husband's inherently corrupt regime.
Making her spectacular West End debut is an astonishing Argentine talent,
Elena Roger, who offers an exceptionally nuanced performance as Eva Peron. The compact Roger evolves right before your eyes from the flirtatious young girl seeking her ticket to Buenos Aires stardom to her role alongside Juan Peron to a physically and emotionally impaired invalid. And what a powerful, beautiful voice!
Philip Quast brings a deceptively steely charm to his characterization of strongman Juan Peron epitomizing why he and Eva would be "surprisingly good" for one another.
As Che, the seductive
Matt Rawle might resemble
Antonio Banderas, but his glorious voice is much more in tune with
Mandy Patinkin. And thankfully -- even though in a nod to the
1996 movie, the song "You Must Love Me" has been added to great effect -- Peron's mistress (an angelic
Lorna Want) brilliantly reclaims the tune "Another Suitcase In Another Hall" absconded by
Madonna for herself on the silver screen. Want's brief yet amazing turn makes me want to see more of her in the future.
Add to all of this the newly syncopated rhythms offered by
David Cullen's lush new orchestrations (particularly in songs like "Buenos Aires") for what is arguably
Andrew Lloyd Webber's best score, along with a breathtaking set design by
Christopher Oram, and the result is one of the most stellar evenings of live theatre I've enjoyed over the past twelve months. It left me on a proverbial "Rainbow High."
This Evita is unequivocally stunning. But if you'd like to see it, you'd better get thee to London soon since the show closes May 26. Given its relatively short life on the West End stage (less than one year), the original plans to transfer to Broadway might now be in jeopardy.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:May Requiem For Evita In London (February 28, 2007)
Sunday At The Grosvenor House With Laurence (February 19, 2007)
Which British Hits Will Be Broadway-Bound? (September 20, 2006)
Evita to New York: I'd Be Surprisingly Good for You (June 28, 2006)
High Flying Adored: Evita Conquers the West End Critics (June 23, 2006)
Hello, Buenos Aires! New London Revival of Evita Opens Tonight (June 21, 2006)
Labels: Elena Roger, Evita, London, Michael Grandage, Musical, Philip Quast, Revival, Rob Ashford, The SOB Review
The Phantom Of Manhattan?It looks like the world will have another phantom to kick around. That’s right, just as
I raised that specter a few weeks ago,
Andrew Lloyd Webber is now officially set to resume writing a sequel to Broadway’s longest running show,
The Phantom Of The Opera.
According to Sir ALW himself, the action will move from Paris to Gotham City. Maybe instead of a plummeting chandelier, he’ll simulate a drop of the New Year’s Eve ball.
Years ago, the knight was collaborating with
Frederick Forsyth on a sequel. But after that effort failed, Forsyth published a novel called “
The Phantom Of Manhattan.” No word on whether the new stage sequel will be based on said book.
The Phantom Of The Opera is perhaps the last of a certain dying breed of European mega-musicals where spectacle and song thrill audiences the world over. I remember seeing the original London production back in what seems a lifetime ago, and I even admit that I enjoyed it, despite having undoubtedly the worst seat in the house.
But I hardly consider
Phantom to be Lloyd Webber’s best work. Personally, my favorite from his canon is
Evita. I also much prefer both
Jesus Christ Superstar and
Sunset Boulevard over
Phantom. Still,
Phantom is much better than
Starlight Express or my least favorite of his, the interminable
Cats.
While
Chris Caggiano reminds us that there have indeed been decent sequels to big, beloved musicals, it’s hard to believe the odds favor lightning striking twice on something so universally loved (or reviled) as
The Phantom Of The Opera. When I put my SOB Poll question -- “Do you think Andrew Lloyd Webber should move forward with a stage sequel to
The Phantom Of The Opera?” -- to you just a couple weeks ago, the overwhelming majority (85.7%) of you voted thumbs down.
I guess we’ll just have to wait and see whether Sir Andrew can triumph again. You can bet I’ll be watching developments closely.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:The Hits From Coast To Coast (March 8, 2007)
Is It Just Me, Or...(Part II) (February 21, 2007)
SOB Readers Produce Results For Pulling Plug (November 7, 2006)
Labels: Andrew Lloyd Webber, Cats, Evita, Jesus Christ Superstar, Sequel, SOB Poll, Starlight Express, The Phantom Of The Opera
May Requiem For Evita In London
After
Evita opened at London's
Adelphi Theatre last June 21, most U.K. critics heaped praise upon the show's native Argentine star
Elena Roger. The actress even earned an Olivier Award nomination for her turn as Eva Peron. However, like the other three nominations the show received, she failed to win the award.
Barely a week after
Evita opened last summer,
word began to spread that plans were in the works to bring the revival to Broadway. But with the revival not even lasting an entire year, perhaps those pronouncements were premature, if not pure hype.
This is Steve On Broadway (SOB).
Related Stories:
Labels: Andrew Lloyd Webber, Broadway, Closing Notices, Evita, London, Musical, Olivier Award Nominations, Revival, Tim Rice
Broadway’s Heart 'N Seoul
Ever doubt the continued power or global reach of the Great White Way? Well, halfway around the world in Seoul, South Korea, I learned that some Broadway’s more enduring recent productions are a hit here, too.
During my just concluded 24 hour visit here earlier today, I was surprised to learn that such popular American musicals as
The Full Monty and
The Lion King are currently gracing Seoul’s stages, as is that popular British import
Evita.
The Lion King is playing at Seoul’s Charlotte Theatre through December 31 with tickets ranging from approximately $40 US to $100 US, while
Evita is performing at the LG Art Center through January 31, with tickets priced from about $45 US to $70 US. Both
The Lion King and
Evita advertise that their scores are being sung in Korean.
Additionally, just in time for New Year’s,
Grease is making a return to the Korean stage with a score that’s also sung entirely in Korean.
On top of all the decidedly Western theatre, there is also the much more traditional Korean theatre, including the home-grown musical
The Last Empress, playing at the Haeorum Theater (National Theater of Korea) through December 24:
Original musical production is scheduled to delight musical lovers of all ages with its heart-wrenching tale of a tragic Korean queen at the eve of a Japanese incursion into Joseon. Queen Min is a historical figure best known for her resistance against Japanese influence in Joseon’s royal court.”
To be honest,
The Last Empress sounds much more appealing than the Broadway-bound
The Pirate Queen.
Perhaps due to the ongoing American military presence here, there is a surprising plethora of Western-influenced fare, including one English language production with a rather inspired premise that just completed it run in Itaewon. Called
And They Used To Be Stars, the play is described as “a comedy that deals with fame, celebrity, drug addiction, infidelity and friendship. Their names? Mickey Mouse, Minnie Mouse and Donald Duck. They were huge…so what happened to them?” Sounds tantalizingly subversive, although I seriously doubt Disney would allow a show like this to move forward in America uncontested.
Getting a huge amount of pre-opening publicity is that aforementioned venerable hit
Grease. In a
story in Saturday’s Joong Ang Daily -- Korea’s English language news partner to the
International Herald Tribune -- reporter Lee Ho-jeong reports on its impending opening just before New Year’s:
The T-Birds of Rydell High are oiling up for the upcoming musical Grease, which
will begin on December 30 at the Dong Soong Art Center.
Grease became popular as a movie with the same title, starring John Travolta and Olivia Newton-John. If you like rock-and-roll then ending the year with this internationally acclaimed musical may be a good idea.
This version of Grease will be performed by Korean artists, including Hong Rocky, Korea’s most adored comedian.
Hong was one of the original cast members when the musical debuted in Korea in May 2003 -- he played Danny Zuko’s best friend Kenickie. He will be playing the same character in this year’s musical, which has already received good reviews in provincial theaters.
This version of the show ran until November 17 at a theater near Konkuk University. The new Danny, Kim San-ho, will be performing the lead character. According to OD Musical Company, which is staging the musical, their Grease shows have created future stars, including Oh Man-seok, who became a television celebrity this year after appearing in the television drama “Vineyard Man.” The musical is set for an open run, with no pre-set closing date.
Unfortunately, I didn’t have enough time during my visit to take in any theatre, and it’s likely that if I did, I would have opted to see something more uniquely Korean. For what’s the purpose of going to a distant land if you stick too tightly to your own culture?
Speaking of which, I have to admit that I was completely put off by the ubiquity of such American fare as McDonald’s and Starbucks in Seoul. But as for theatre -- while I doubt that I’d take in Western-style entertainment unless I was living here a long time -- Broadway is positively making this big world seem just a little bit smaller and arguably remains one of our better exports.
This is Steve On Broadway (SOB).
Labels: Broadway, Evita, Grease, International, Musical, The Full Monty, The Lion King
Which British Hits Will Be Broadway-Bound?In this morning's
New York Post, theatre critic
Clive Barnes sizes up some of the current prospects for British imports to the Broadway stage. In addition to dutifully noting the eagerly anticipated
Mary Poppins due later this year, along with
Billy Elliot The Musical that will arrive by 2008, Barnes gives props to the ubiquitous
Michael Grandage-helmed productions. Those include two musicals (
Evita and
Guys And Dolls) and one play (
Frost/Nixon). All three have received their share of critical acclaim and box office success across the pond.
Barnes' personal favorite pick for a Broadway transfer is the highly praised revival of
Sunday In The Park With George that graced the London stage earlier this summer, although he doesn't hold as much hope for its arrival on the Great White Way as the aforementioned shows. He also is clearly optimistic about a the chances of
Tom Stoppard's
Rock 'n' Roll drama coming to American shores.
But the show that he thinks has the greatest potential for a Broadway bow is none other than the
Queen-inspired stinker
We Will Rock You -- a
bad jukebox musical that continues to play to UK audiences despite terrible reviews. It should be noted that it has already been produced in the United States at the
Paris Las Vegas, but like so many other theatrical productions hitting Sin City, the show closed much earlier than originally anticipated. Who would have thought Vegas audiences would have shown that much good taste?!
This is Steve On Broadway (SOB).
Related Stories:Billy Elliot Set for 2008 Broadway Bow? (September 6, 2006)
Critics Find Frost/Nixon to Be Unimpeachable (August 23, 2006)
Which Broadway Musical Will Depart Next? (August 21, 2006)
Evita to New York: I'd Be Surprisingly Good for You (June 28, 2006)
Sunday in the Park With George Revival Opens in London's West End (May 22, 2006)
Guys and Dolls Imported to Broadway from London? (May 15, 2006)
Rejoice! Gavin Lee to Cross Atlantic for Mary Poppins on Broadway (May 8, 2006)
Labels: Billy Elliot The Musical, Broadway, Evita, Frost/Nixon, Guys And Dolls, London, Mary Poppins, Rock 'n' Roll, Sunday In The Park With George, Transfer, We Will Rock You
Eva Beware of the BrantleyWe'll never know for sure whether he simply had a terrible flight to London or a severe case of jetlag, but once again Ben Brantley of
The New York Times has become the bug of the ball. Now
Brantley is jeering the West End's new Evita just over a week after Michael Grandage's production opened to largely raving reviews. Perhaps he timed his disparaging review just in time for the Fourth of July, as if to prove his independence from his British colleagues. Brantley bristles very dismissively: "The whole enterprise is careful, polished and pious."
Even more calculated is his attack on
Evita's Elena Roger, who has been quite universally praised as a major discovery in this titular role. Brantley sneers, "...the proficient Ms. Roger rarely projects that ravening hunger for adulation that does, after all, make some sense of a woman who first became famous as an actress. When she sings, 'You must love me,' toward the show's end, the imperative hangs limp and unanswerable."
Maybe Brantley just doesn't like to be told what to do, especially when the imperative is to love. As one artist whose work I've admired has duly noted, "I often think that theater reviewers take the word CRITIC too much to heart." Amen!
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Evita to New York: I'd Be Surprisingly Good for You (June 28, 2006)
High Flying Adored: Evita Conquers the West End Critics (June 23, 2006)
Hello, Buenos Aires! New London Revival of Evita Opens Tonight (June 21, 2006)
Labels: Critics' Capsule, Evita, London, Musical, Revival
Evita to New York: I'd Be Surprisingly Good for YouWith the extraordinary buzz of Michael Grandage's latest West End revival triumph,
Evita, already resonating on this side of the Atlantic, could it be that the greatest collaboration by Andrew Lloyd Webber and Tim Rice will once again return to Broadway?
According to Michael Riedel of the New York Post, "Plans are in the works for this production to come to New York in the fall of 2007."
As reported here last week, the British critics are raving about this production, with particular emphasis on the talents of Argentinian star Elena Roger in the title role. There's no word yet on whether Actors' Equity would approve her for a Great White Way turn. But given all the talent already crossing the pond this past year to enormous success -- and arguably helping to lift most Broadway shows -- I have to believe that the actors' union will grasp that Roger's shining star would ultimately prove to be good for all the other American actors and stage crew that this production would likely require.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:High Flying Adored: Evita Conquers the West End Critics (June 23, 2006)
Hello, Buenos Aires! New London Revival of Evita Opens Tonight (June 21, 2006)
Labels: Broadway, Evita, London, Musical, Revival, Transfer
High Flying Adored: Evita Conquers the West End CriticsMichael Grandage's revival of
Evita is officially a major hit in London. The show opened to widespread critical praise on Wednesday evening at the West End's Adelphi Theatre.
With such raves as, "Make no doubt about it: Argentine performer Elena Roger is a star" (
Matt Wolf, Theatre.com), "Whether she’s shimmering in triumph or preparing for a poignant death, it’s Roger who commands the stately marble and elegant iron fretwork of Christopher Oram’s set" (
Benedict Nightingale of The London Times), "Roger is simply sensational" (
Paul Taylor of The Independent), it's no wonder that headlines around the world are trumpeting what the
Associated Press' Jill Lawless has reported: British critics simply love the new
Evita star.
Looks like the only crying that will commence for Roger's Argentina is for pure joy during the revival of Andrew Lloyd Webber and Tim Rice's best work.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Hello, Buenos Aires! New London Revival of Evita Opens Tonight (June 21, 2006)
Labels: Evita, London, Musical, Revival
Hello, Buenos Aires! New London Revival of Evita Opens TonightWill Argentinian actress Elena Roger demonstrate more than
just a little touch of star quality when she takes to the West End's Adelphi stage this evening for the hotly-anticipated London revival of
Evita?
There's certainly plenty of production quality among the team for this remounting of the classic Andrew Lloyd Webber/Tim Rice musical, starting with director Michael Grandage, who turned last year's
Guys And Dolls into an unmitigated success. Rob Ashford, fresh from Broadway's
The Wedding Singer, has reteamed with Grandage to provide fresh choreography.
It also probably goes without saying that the original Hal Prince-helmed
Evita helped turn actresses Elaine Paige and Patti LuPone into first ladies of the London and Broadway stage, respectively. But can it do the same for Rogers? We'll know tomorrow whether the critics exult in a
rainbow high.
This is Steve On Broadway (SOB).
Click here for tickets.Labels: Andrew Lloyd Webber, Elena Roger, Evita, London, Michael Grandage, Musical, Opening Night, Revival, Rob Ashford
