Knowing When To Leave? Promises Promises Posts Closing NoticeLate yesterday, for the
second day in a row, another Broadway show posted its closing notice.
After 291 regular performances,
Promises Promises will close on the very same day as
West Side Story: January 2, 2011.
Despite earning
mixed reviews,
Promises Promises showed enormous box office promise right up through
two weeks ago when the tuner was still grossing over $1 million in ticket sales.
The only times those figures ever went south of a cool million were when its much-loved leads --
Kristin Chenoweth and the Tony-nominated
Sean Hayes -- were temporarily away. Initially, contracts for the duo were through December 26 of this year. In their closing notice announcement,
Promises Promises producers indicated that they were able to extend those contracts through the January 2 closing date (although Chenoweth will be out October 15-27 and December 29-January 1).
With the exception of Tony-winner
Katie Finneran, who stole the show as the deliriously funny Marge and who is leaving the show October 10 due to a pregnancy, all other principals are remaining with the production until it closes. Finneran's replacement,
Molly Shannon, takes over October 12 for the balance of the performances. This will mark Shannon's Broadway debut.
Early on, this revival of
Promises Promises made headlines as Hayes seemed unnecessarily
targeted by a
Newsweek reporter, who asserted that the actor's sexuality made him unbelievable as a romantic lead. Chenoweth
fired back, labeling the gay reporter as "knee jerk homophobic." Then, when Hayes hosted the Tony Awards, he and Chenoweth enjoyed perhaps the
strangest televised liplock since Michael Jackson and
Lisa Marie Presley. But no matter -- both only seemed to fuel box office demand.
While I certainly didn't hate the show, I didn't exactly love it, either. I was somewhere in the middle with my
two-star review, mostly because I found the first act so incredibly lumbering, yet surprised in my delight with the second, buoyed by Finneran's charms. But as a fan of "
The Apartment," which served as
Promises Promises' source material, I was disappointed by how flat the musical's story fell. And the shoe-horning in of songs like "I Say A Little Prayer For You" and "A House Is Not A Home" just didn't work for me.
Still, I had hoped for a second act miracle for the production itself. Just as Finneran lifted the entire musical after
Promises Promises' intermission, the thought of an inspired recasting of the leads along the lines of
what was accomplished with
A Little Night Music intrigued me. But those hopes were dashed as it appears that the production and creative team
gave up on finding anyone suitable as a box office draw that could replace either of them. Instead, that same team appears to be limiting its focus on prepping another upcoming 60s-era revival,
How To Succeed In Business Without Really Trying, for Broadway in the Spring of 2011.
But suppose for a moment that the show were to receive an 11th hour reprieve, whom would
you cast as Chuck Baxter and Fran Kubelik?
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. Labels: Box Office, Broadway, Closing Notices, Katie Finneran, Kristen Chenoweth, Molly Shannon, Musical, Promises Promises, Revival, Sean Hayes
Promises, Promises (The SOB Review) - Broadway Theatre, New York, New York
** (out of ****)
On paper,
Rob Ashford's new revival of
Promises, Promises -- the only Broadway tuner ever written by
Burt Bacharach and
Hal David -- was not only promising, but it seemed poised to be a sure-fire hit.
Pair one of the Great White Way's most beloved contemporary musical/comedy stars (
Kristin Chenoweth) with one of the last decade's most memorable television actors (
Sean Hayes), throw in a
couple more of Bacharach and David's most popular hits, move the action of
Neil Simon's book up a half decade to capitalize on "
Mad Men," and voila! A smash, right?!
Unfortunately, the only smash comes in the form of the massive collision of sensibilities between this revival's two wildly, divergent acts (not to mention how contextually misplaced those added songs are). The first is so horrendously conceived and downright boring, that you may be tempted to leave at intermission. The only saving grace is Hayes' occasionally winning take on C.C. Baxter, the office climber who's hoping to impress office cafeteria waitress Fran Kubelik (Chenoweth, whom I regret to say is miscast). But even Hayes' C.C. too frequently comes off as just this side of
Jack.
The shocker is that the second act is so significantly better than the first that you're actually relieved you stuck this one out. That's largely because of the yeoman efforts of the superb
Katie Finneran. She not only saves the day with her deliriously funny portrayal of the tipsy Marge MacDougall, but she also salvages the show.
You can't help but contemplate the promise of what might have been had Ashford maintained the same tone throughout. Instead, I'm sorry to say, we're merely stuck with broken
Promises, Promises.
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: Broadway, Burt Bacharach, Hal David, Katie Finneran, Kristin Chenoweth, Musical, Promises Promises, Revival, Rob Ashford, Sean Hayes, The SOB Review
Love, Loss, And What I Wore (The SOB Review) - The Westside Theatre, New York, New York*** (out of ****)I'll readily admit that I'm most certainly not in the target audience for
Love, Loss, And What I Wore.
You don't even have to enter Off-Broadway's Westside Theatre to grasp that this is an intimate evening aimed first and foremost at females of all ages.
But like every guy, I have a mother. I even grew up with an older sister. And fortunately for me, I'm blessed with a host of very special relationships with some exceptional women. So while
Love, Loss, And What I Wore is made for women, it's certainly strong enough for men with tale after familiar tale that will recall everything we know and love about the better sex. Male or female, we can all relate.
Blessed with a rotating cast of five,
Love, Loss, And What I Wore is a much more accessible
Vagina Monologues for the 21st Century. Please don't misunderstand. I found
Eve Ensler's groundbreaking selections of staged readings from the last decade to be potent, brave and empowering. But let's face it, the title alone translated to my being one of relatively few men in its audience. In fact, I felt every bit as conspicuous there as I did the time I took in an "Oprah" taping.
While there were more masculine faces in the Westside Theatre, it's really deserving of significantly more. That's because regardless of our gender, most of us should be able to identify with this dramatic, funny and often poignant reading of "an intimate collection of stories" from the mother/daughter team of
Nora Ephron and Delia Ephron.
Even though it's not afraid to wear its outsized heart on its beautifully crafted sleeve,
Love, Loss, And What I Wore stitches its myriad swatches of vignettes ranging from marriage, infidelity and divorce to breast cancer with a common thread: essentially how profound passages from disparate women's lives are accessorized by memorable apparel. But rather than serving as window dressing, the attire constitutes quintessential landmarks for remembering the milestones in these ladies' lives.
When I caught this past Sunday's show, it not only featured
Tyne Daly, who continues with
Love, Loss, And What I Wore through November 15, but also
Samantha Bee,
Katie Finneran,
Natasha Lyonne and
Rosie O'Donnell. Even though this is staged as a reading, it became apparent very quickly that each of the actresses had taken their assigned sketches to heart, rarely glancing at the music stands in front of them as if only to turn the page.
With a graceful maturity, Daly grounds the production throughout. The Tony-winning Finneran handled most of the heaviest lifting of the show's particuarly weighty topics, but she did so with a calming ease, almost as if she was merely putting on a lightweight coat. Lyonne offered a no-nonsense approach, while Bee added a delightful dose of humor, especially as a German shrink. Yet it was the warmhearted O'Donnell who surprised the most in mining the most laughs, but in a most reverential fashion.
Clocking in at a mere 85 minutes, director
Karen Carpenter paces
Love, Loss, And What I Wore with style and care. With topics that will touch the hearts of both sexes, what would I tell any guy asking if the show is worth seeing?
Womanly yes, but I liked it, too.
This is Steve On Broadway (SOB).
Labels: Delia Ephron, Katie Finneran, Love Loss And What I Wore, Natasha Lyonne, Nora Ephron, Off-Broadway, Reading, Rosie O'Donnell, Samantha Bee, The SOB Review, Tyne Daly
Mauritius (The SOB Review) - Biltmore Theatre, New York, NY
***1/2 (out of ****)Years ago -- about the time I was in the third grade and just having my appetite whetted for my lifelong interest in history -- I began collecting stamps.
Nothing serious, mind you. In fact, I’m quite confident if I dug up whatever it was I actually placed meticulously into my book, I’d surely find virtually nothing of value. That’s because like many passing fancies in our adolescence, I moved on to the next big thing.
If only I had known then what I know now.
Thanks to
Theresa Rebeck’s surprisingly thrilling and highly entertaining
Mauritius, I enjoyed a crash course in
philately.
Thanks to
Doug Hughes’ taut direction,
Mauritius provides one of those exceptionally riveting, edge-of-your-seat theatrical experiences -- a veritable roller coaster ride of delicious deception that literally pulls no punches.
In fact, the play -- about two half-sisters arguing over the rightful ownership of a potentially invaluable stamp collection left behind by their now deceased mother -- packs quite a wallop that’s as rare in theatre as the collection’s two 19th Century stamps from
Mauritius.
With a superb ensemble collection, Rebeck spins a diabolically delicious yarn -- aided by
John Lee Beatty’s evolving set design -- about who lays authentic claim to the collection: Jackie (
Alison Pill), who claims to have been given the stamps directly by her dying mother, or Mary (
Katie Finneran), whose grandfather once owned the collection and shared his secrets and interest with his granddaughter until his death.
As desperately destitute Jackie, Pill scores with a truly extraordinary, breathtaking performance by inhabiting the darkest recesses of someone willing to sell her very soul for a shot at money. To say she delivers a nuanced portrayal would be an understatement. Pill only cements her reputation as Broadway's top young actress.
As Mary, a measured Finneran more than ably goes toe to toe with Pill. But the action extends to a trio of men whose lust for the holy grail of stamp collecting means that they’ll stop at virtually nothing to ensure they profit.
First, there’s Dennis (a charming, cunning
Bobby Cannavale), whose dubious knowledge about authenticity never stands in his way of triangulating his alliances. Then there’s Sterling (a thoroughly menacing and maniacal
F. Murray Abraham), who claims ownership of the stamps before any money has even been exchanged. And no one can lick the wimpy stamp authority (a sly
Dylan Baker), who’s only to be underestimated at tremendous cost.
Mauritius scores on virtually every level and is one production that deserves to collect more than a few Tony nods. See it while you can.
This is Steve On Broadway (SOB).
Click here for tickets.
Related Stories:Did Mauritius Merit Stamps Of Approval? (October 5, 2007)
Theresa Rebeck Collects First Broadway Opening Night With Mauritius (October 4, 2007)
From Manhattan To Mauritius (June 28, 2007)
Well, Well, Well, If It Isn't Boston... (June 9, 2006)
Labels: Alison Pill, Broadway, Doug Hughes, F. Murray Abraham, Katie Finneran, Mauritius, Play, The SOB Review, Theresa Rebeck
Did Mauritius Merit Stamps Of Approval?Last evening,
Theresa Rebeck's
Mauritius opened at Broadway's
Biltmore Theatre. The critics have weighed in with mostly lukewarm reviews, and more than one has compared Rebeck's efforts to those of
David Mamet.
Praising
Mauritius as a "ripping good play,"
Joe Dziemianowicz of New York's
Daily News offers perhaps the most laudatory review of all: "
Doug Hughes (
Doubt) directs, and his mint-condition production made me gulp twice. First, 10 minutes into Act I, when
John Lee Beatty's wondrous set shape-shifts and gooses the play to life. Second, 10 minutes before intermission, when Jackie screams about sprouting 'bug wings, the kind that move really fast' and shows how disturbed she is. I can't recall being so eager for intermission to end. In (Rebeck's) Broadway debut, she keeps things lean and mean, while exploring a provocative parallel."
Labeling the work an "entertaining play,"
New York Post's
Clive Barnes offers a two-and-a-half star review: "The play's conceits -- that any dealer would be trusted to vouch for a stamp's authenticity just from looking at it, and that any collector, however rich, however nutty, would accept such judgment without any details of provenance -- is ridiculous. So it all depends on the writing -- and Rebeck is nifty in catching the criss and cross of convincing dialogue -- the staging, and even more on the acting. Doug Hughes' direction, little helped by John Lee Beatty's bland settings, is as expert as ever, applying a certain needed crisis control to a play often threatening to spiral into bombast."
Deeming it a "deftly formulaic play,"
The New York Times'
Ben Brantley is rather tepid: "[T]he production mostly has the ersatz air of an expertly drawn blueprint on tracing paper. Directed by Doug Hughes,
Mauritius is neatly structured, fleetly paced, handsomely mounted and engagingly acted....Ms. Rebeck knows that teasing ambiguity is the key to holding an audience’s interest in a play like
Mauritius....But Ms. Rebeck never really makes good on the promises of her atmospheric dialogue, with its talk of the nature of obsession and how it is the errors that make people, like stamps, of interest."
Allowing that the show is an "intermittently diverting mash-up of con game and domestic drama,"
Eric Grode of
The New York Sun laments: "The labyrinthine plot hinges on the musty world of rare postage stamps, where mistakes (upside-down airplanes and the like) do indeed boost the value, and the inference is that Ms. Rebeck's quintet of schemers similarly benefit from their imperfections. But Ms. Rebeck, a prolific playwright making her Broadway debut, hammers this metaphor with a doggedness that draws unwelcome attention to her own plotting gaffes and ungainly speeches. In the process, she and director Doug Hughes squander a strong cast and allow the play's twists and turns to spin a promising narrative into a series of credulity-straining confrontations."
Calling
Mauritius "slick, unconvincing,"
Michael Kuchwara of the Associated Press finds at least one point of praise: "Nobody can do menace quite like
F. Murray Abraham, a man born to inhabit sinister. The actor expertly demonstrates how in
Mauritius....Abraham isn't even the main character, but his formidable presence dominates the evening's convoluted action....Rebeck's style is more diffuse (than her other works), diluted by the uncertainty of the play itself. Its unwieldy plot veers from a David Mamet-like caper (complete with a flurry of four-letter words) involving a rare stamp collection to a soggy tale of two quarreling siblings to the intriguing interaction between two of the play's more off-kilter characters. And director Doug Hughes has a hard time corralling all three parts into a credible whole."
I'll be offering my own SOB Review over the next few days. Tickets are on sale for this limited run through November 25.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Theresa Rebeck Collects First Broadway Opening Night With Mauritius (October 4, 2007)
From Manhattan To Mauritius (June 28, 2007)
Well, Well, Well, If It Isn't Boston... (June 9, 2006)
Labels: Alison Pill, Broadway, Critics' Capsule, Doug Hughes, F. Murray Abraham, Katie Finneran, Manhattan Theatre Club, Mauritius, Play, Theresa Rebeck
Theresa Rebeck Collects First Broadway Opening Night With MauritiusThis evening marks American playwright
Theresa Rebeck's Broadway debut with
Mauritius, a play about half sisters and their deceased mother's stamp collection. Opening at the
Biltmore Theatre,
Mauritius is the
Manhattan Theatre Club's first Broadway production this theatrical season.
Helmed by
Doug Hughes (
Doubt, Inherit The Wind),
Mauritius' impressive cast includes
Dylan Baker,
Bobby Cannavale,
Katie Finneran (whom I last saw in her well-deserved Tony-winning romp in
Noises Off in 2001),
Alison Pill, and a return to the Great White Way by Academy Award-winning actor
F. Murray Abraham, who's been absent from Broadway since 1997's
Triumph Of Love. (I haven't seen him since he appeared as Roy Cohn in
Angels In America: Millennium Approaches back in the mid-90s)
Will all these credentials add up to a collection the critics believe is worth seeing? Find out tomorrow as I provide a critics' capsule.
Tickets for this limited run show are on sale through November 25.
This is Steve On Broadway (SOB).
Click here for tickets.
Related Stories:
From Manhattan To Mauritius (June 28, 2007)
Well, Well, Well, If It Isn't Boston... (June 9, 2006)
Labels: Alison Pill, Broadway, Doug Hughes, F. Murray Abraham, Katie Finneran, Manhattan Theatre Club, Mauritius, Noises Off, Opening Night, Play, Theresa Rebeck
From Manhattan To MauritiusThe melting pot known as
Mauritius has long been the vacation destination of choice for the well-heeled in Africa and southwest Asia, thanks in part to the gorgeous scenery and pristine beaches the island nation offers.
Now,
Theresa Rebeck's version of
Mauritius will come to life for the first time on the New York stage, thanks to the
Manhattan Theatre Club's fall production scheduled to open at the
Biltmore Theatre on October 4.
With
Doug Hughes at the helm, the "sinister comedy" will feature a phenomenal cast, including the effervescent Tony-winning actress
Katie Finneran (
Noises Off) -- who's finally returning to the Great White Way after a five year absence -- and the hot, young Tony-nominated actress
Alison Pill (
The Lieutenant Of Inishmore) as half-sisters grappling with their mother's death and bequest. Rounding out the cast will be
F. Murray Abraham (in his first return to Broadway since 1997's
Triumph Of Love),
Dylan Baker and
Bobby Cannavale.
The casting alone certainly might make this
Mauritius worth the trip.
This is Steve On Broadway (SOB).
Labels: Alison Pill, Broadway, F. Murray Abraham, First Word On New Show, Katie Finneran, Mauritius, Play, Theresa Rebeck
