101 Dalmatians (The SOB Review) - Orpheum Theatre, Minneapolis, Minnesota*1/2 (out of ****)Given the wonderful seminal movie-going experience
Disney's 1961 animated feature "
101 Dalmatians" afforded me, I eagerly anticipated and chowed down on everything from its initial release on videotape and DVD to movie memorabilia to the
1996 feature film.
So when I learned that Tony Award-winning director
Jerry Zaks would be helming a stage musical version, how could I resist? Turns out this tale is far from man's best friend.
When it comes to the non-Disney touring production of
The 101 Dalmatians Musical that made its initial bow in Minneapolis last week, there's no beating around the bushes (which, parents should duly note, are apparently inhabited with dogs in serious heat). Unfortunately, it's all bow, with too little wow. Some of those gasps you're likely to hear are parents who are caught off-guard by several instances of off-color humor.
It would be easy for any wag to dismiss the tuner as one giant dog of a show, but that really wouldn't be fair to any canine. Its creators may insist that this
101 Dalmatians is meant to reflect Dodie Smith's original 1956 children's novel, but it readily becomes apparent that this is merely a feeble attempt to cash-in on the far superior Disney forebears.
Act One certainly shows some promise, including flourishes in its score reminiscent of the heyday for 70s rock band
Styx. That's in part because it's been written by the group's front-man
Dennis DeYoung. Unfortunately, the second act becomes hackneyed and the score is simply derivative.
But that's a mutt point if you deliver on what "101 Dalmatians" fans have enjoyed most about the earlier incarnations: the cute furry dogs and the fiendish Cruella DeVil. In this
101 Dalmatians, both aren't on stage nearly enough even if they represent the most satisfying aspects of the show.
With varying effect, the adult characters warily maneuver the stage in costumes built for stilts so as to appear larger than the the humans portraying Pongo, Missus and their own litter of puppies (played by children). To supplement these "dogs," up to 15 genuine dalmatians are used, along with what appear to be cardboard cutouts, to amass the quantities the title demands.
Sorry to say, these real dogs are only used at the end of each act. At the conclusion of the show, the real dalmatians chew the scenery quite literally by putting on a pleasing display of impressively stupid pet tricks. Considering that they elicit a much larger audience response than the rest of the show put together (with one notable exception that I'll get to in a moment), they demonstrate just how little meat is on this
101 Dalmatians' bones.
As for that exception, the enormously talented
Rachel York is a delirious delight as the devilish Cruella. Despite being criminally underutilized, the wickedly funny York radiates the musical's only real heat whenever she blazes across the stage. She really sinks her teeth into the production and employs her considerable vocal skills to tremendous effect. York is also one of the few actors in this production who seems truly comfortable on those stilts.
Suffice to say, without York,
101 Dalmatians would just sit there with no bark and no bite. And that's a doggone shame.
This is Steve On Broadway (SOB).
Labels: 101 Dalmatians, Dennis DeYoung, Jerry Zaks, Minneapolis/St. Paul, Musical, Rachel York, The SOB Review, Touring Production
Camelot (The SOB Review) - Main Hall, Ordway Center for the Performing Arts, St. Paul, MN
** (out of ****)
First, in the interest of full disclosure, you should know that
Alan Jay Lerner and
Frederick Loewe's
Camelot ranks among my
least favorite musicals, so it was with a bit of trepidation and dread that I took in the current touring revival of the show.
My hopes were raised upon learning that the muddled book had been revised (by Michael A.M. Lerner, son of Alan Jay Lerner). Yet my underlying reason for returning to this musical once more was the casting of an excellent actor named York in a leading role. Unfortunately, to sum it all up, the Mike didn't work.
On the plus side, the
look of this revival -- from
John Iacovelli's lush set design to
Marcy Froehlich's never-ending stream of gorgeous costume designs -- was completely evocative of that "one brief, shining moment known as
Camelot." Even the incidental choreography by
Dan Mojica and sword play by Sean Boyd served to further accentuate all that was
visually stunning in this production.
But then there was the sound. Or the atrocious lack thereof. What a mess. So appalling was the sound design (the program "credits" Julie Ferrin), that any audience member demanding a refund should have been afforded one, no questions asked (I only hope that other audiences didn't have to endure similar glitches).
In addition to a grating assault on the ears via a succession of snaps and crackles popping from the show's speakers, the worst offense by far was the non-functioning microphone of
Rachel York (Guenevere), the star I paid to see. The mike failed to register anything other than distracting static during her entire first, lengthy scene.
Ironically, that egregious offense only deepened my complete adoration and utter appreciation for this excellent musical actress, who demonstrated what a consummate pro she truly is. Never missing a beat, York persevered with amazing aplomb by gracefully taking it up more than a few additional notches so that even the folks in the rafters could hear her beautiful voice above the booming orchestra.
I've said it before, but I'll say it again, the ravishing York is one of my absolute favorite actresses. As Guenevere, York found a new emotional, bittersweet depth in a completely convincing and winning performance.
Unfortunately, the same can't be said for her leading man. As I said before, the Mike didn't work, and I meant that two ways. Not only is
Michael York entirely too old to portray King Arthur -- the actor, who's completely unrelated to his leading lady, is 29 years her senior -- but even with
full use of his own microphone, he was largely inaudible throughout the production, particularly when the orchestra played over him. And when he could be heard, he was mostly unconvincing as the benevolent visionary monarch.
Never was that more evident than when
James Barbour (yes,
that James Barbour) took to the stage as Lancelot with such gusto and style, that it was no wonder Guenevere pined for him over the milquetoast magnate. The contrast between Michael York and Barbour could not have been more jarring. And without resorting to a cartoony caricature, Barbour made this Lancelot rather appealing.
Speaking of cartoony caricatures, the fey villain is so overdone and is oh so tiresome. Shannon Stoeke's over-the-top portrayal of Arthur's incendiary son Mordred was simply tedious. Director
Glenn Casale of
Peter Pan fame should know better.
While there is much to recommend in this revival of Camelot, there's the looming possibility of being stuck with faulty Mikes all the way around. Ultimately, that makes for a risky gamble for anyone's big knight out.
This is Steve On Broadway (SOB).
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Labels: Camelot, Michael York, Minneapolis/St. Paul, Musical, Rachel York, Revival, The SOB Review, Touring Production
