SOB's Best Of 2009-10: Top Ten Of The YearOver the last couple days, I've offered up my "Best Of" lists for each of the four major stage categories honored by the Tony Awards, including Best Musical Revivals, Best Play Revivals, Best New Musicals and Best New Plays.
Now, before this evening's Tony Awards are bestowed, 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 2009-10 Theatrical Season (ending April 30, 2010):
10 - A Streetcar Named DesireVenue: Harvey Theatre, Brooklyn Academy of Music, Brooklyn, New York
Top 10 Worthiness: Liv Ullmann's crackling revival of
Tennessee Williams'
A Streetcar Named Desire became a must-see event not only because it starred the magnificent
Cate Blanchett, but also because it so forthrightly showcased this classic work for what it is -- one of the best plays ever written.
Exceptional Standout Performance: Cate Blanchett
Status: Closed late 2010
SOB Review Rating: ***1/2 (out of ****)
9 - Fences
Venue: Cort Theatre, New York City, New York
Top 10 Worthiness: In
Kenny Leon's exceptional revival of
August Wilson's monumental
Fences,
Denzel Washington excels in delivering a solid line drive as former baseball player Troy Maxson -- once a player, always a player. Yet as Troy's wife Rose,
Viola Davis hits this one out of the park with the most extraordinary, heartwrenching performance of the year.
Exceptional Standout Performances: Denzel Washington and Viola Davis.
Status: Limited run through July 11, 2010
SOB Review Rating: ***1/2 (out of ****)
8 - The Full MontyVenue: McKnight Theatre, Theatre Latté Da, Ordway Center For The Performing Arts, St. Paul, Minnesota
Top 10 Worthiness: In one of those rarest of rarities,
Theater Latté Da's excellent and thoroughly enjoyable revival of
The Full Monty was actually much better than the Broadway original. Under
Peter Rothstein's exceptional, confident direction,
Terrence McNally's book and
David Yazbek's underrated score became even more salient, all the more emotionally gripping and certainly more entertaining today.
Exceptional Standout Performances: Wendy Lehr and
Randy SchmelingStatus: Closed last fall after limited run
SOB Review Rating: **** (out of ****)
7 - Brighton Beach Memoirs
Venue: Nederlander Theatre, New York City, New York
Top 10 Worthiness: Nothing could have prepared me for the earnest and devastating charms found in
Neil Simon's superb
Brighton Beach Memoirs. This semi-autobiographical period piece received an excellent (though sadly short-lived) Broadway revival, flawlessly executed by director
David Cromer. Through
Brighton Beach Memoirs, Cromer further burnished his credentials as a brilliant, visionary master at breathing vigorous new life into classic material.
Exceptional Standout Performances: Laurie Metcalf,
Noah Robbins and
Santino FontanaStatus: Closed last fall the Sunday after it opened
SOB Review Rating: **** (out of ****)
6 - Superior Donuts Venue: Music Box Theatre, New York City, New York
Top 10 Worthiness: Tracy Letts' tasty and satisfying
Superior Donuts may have appeared on my list last year, but since he and director
Tina Landau further sharpened this dramatic comedy for its Broadway bow, the play once again earns its place on my list.
Superior Donuts ostensibly left its audience with hope and an entreaty to wake up to the world around us, give a damn and take a stand.
Exceptional Standout Performances: Michael McKean and
Jon Michael HillStatus: Closed at the beginning of this year
SOB Review Rating: **** (out of ****)
5 - Twelfth NightVenue: Delacorte Theatre, Central Park, New York City, New York
Top 10 Worthiness: Love was in the air, and that breeze blowing straight through Central Park was
William Shakespeare's
Twelfth Night.
Daniel Sullivan’s gorgeous gender-bending revival was brimming with bawdy charms and an extraordinary ensemble. I walked out of Central Park both enthralled and enchanted.
Exceptional Standout Performances: Anne Hathaway,
Raúl Esparza,
Audra MacDonald and
David PittuStatus: Closed last summer after limited run
SOB Review Rating: **** (out of ****)
4 - The Brother / Sister Plays
Venue: Upstairs Theatre, Steppenwolf, Chicago, Illinois
Top 10 Worthiness: The Brother / Sister Plays,
Tarell Alvin McCraney's excellent and deeply poetic trilogy, cast an unusally enthralling spell over me through its lyrical power. Standing as a towering achievement, not only for the incredibly young yet wise-beyond-his-years playwright, but also for its outstanding ensemble,
The Brother / Sister Plays may ultimately prove to be the most important new work of this new decade.
Exceptional Standout Performances: K. Todd Freeman and
Alana ArenasStatus: Closed this spring after limited run
SOB Review Rating: **** (out of ****)
3 - RuinedVenue: New York City Center Stage I
Top 10 Worthiness: What playwright
Lynn Nottage and director
Kate Whoriskey have achieved with the heartstopping and excellent
Ruined was nothing short of monumental. They skillfully succeeded in placing many a human face on those who are grossly dehumanized, even if it ranks as one of the most difficult plays I ever sat through.
Exceptional Standout Performances: Portia,
Quincy Tyler Bernstine and
Russell G. JonesStatus: Closed last summer after multiple extensions
SOB Review Rating: **** (out of ****)
2 - RedVenue: John Golden Theatre, New York City, New York
Top 10 Worthiness: John Logan's magnificent
Red, masterfully directed by
Michael Grandage, has forever changed how I'll view abstract art, particularly that of artist
Mark Rothko. A modern-day masterpiece imported directly from London's
Donmar Warehouse,
Red intrigues and titillates the senses with its potent examination of the internal conflicts Rothko may have endured.
Exceptional Standout Performances: Alfred Molina and
Eddie RedmayneStatus: Limited run scheduled through June 27, 2010
SOB Review Rating: **** (out of ****)
1 - Brief EncounterVenue: McGuire Proscenium, Guthrie, Minne-apolis, Minnesota
Top 10 Worthiness: The all too
Brief Encounter stands out as the most magnificent entertainment production I saw anywhere this year.
As its conceit, director
Emma Rice ingeniously builds on the precepts from the Oscar-nominated
1945 motion picture written by
Noël Coward about two married individuals who enjoy a chance meeting in a train station only to find themselves swept away in a mad love affair. Silver screen images are shown on the stage, but it's seemlessly brought to life with a captivating fusion with live theatre. Topping off this delectable treat is a perfect blend of music from the era that breaks the fourth wall.
To say much more beyond this doesn't seem fair because this excellent production has to be seen to be believed and fully appreciated. But I'll add one more thing. It took
Brief Encounter's spellbinding trip back in time to catch a glimpse of the future in entertainment and the integral role projection designs -- like those offered here by
Gemma Carrington and
Jon Driscoll to mesmerizing, dramatic effect -- can have in stage productions.
Fortunately, Broadway
audiences will have their chance this fall to encounter this excellent work that defies description. And don't be surprised if there's further call for a new Tony Award category to be created for Best Projection Design. It's an element that's here to stay.
Exceptional Standout Performances: Hannah Yelland and
Milo TwomeyStatus: Closed in April after limited run. Production will be mounted this fall at Broadway's Studio 54
SOB Review Rating: **** (out of ****)
What shows would be on your top ten list? Do you think I've completely missed the boat, or would your choices largely mirror mine?
I invite you to join the discussion and post your comments here.
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: A Streetcar Named Desire, Brief Encounter, Brighton Beach Memoirs, Fences, Red, Ruined, SOB's Best of 2009-10, Superior Donuts, The Brother/Sister Plays, The Full Monty, Twelfth Night
SOB's Best Of 2009-10: Best New PlaysDuring the 2009-10 Theatrical Season, I've had the opportunity to see over 80 performances of a wide range of new and revived musicals and plays, as well as other theatrical events.
As noted earlier, unlike this past year's selection of musicals, the plays were once again "the thing." That included a startling array of first rate new plays on Broadway as well as other venues near and far.
So, without further ado, here is my list of the "5 Best New Plays" I've seen over the 12 months ending April 30, 2010:
5 - Superior Donuts (Music Box Theatre, New York City, New York)
Sure,
Tracy Letts' tasty and satisfying
Superior Donuts appeared on my list last year, but since he and director
Tina Landau sharpened this work for its Broadway bow, this play deserves to be judged again as a new show. And this enthralling and profoundly moving work deserves to be on this list as it sits precisely where the American dream -- and all its endless possibilities -- intersects with fears of America lost.
The essential ingredients Letts has baked into this dramatic comedy were as sweet and savory as ever. Proving that no one backs Letts into a corner,
Superior Donuts offered plenty of his trademark ribald barbs while ostensibly leaving its audience with hope and an entreaty to wake up to the world around us rather than to shut it out. To give a damn and take a stand. Once again, this courageous show lived up to its name.
4 - The Brother / Sister Plays (Upstairs Theatre, Steppenwolf, Chicago, Illinois)
The Brother / Sister Plays,
Tarell Alvin McCraney's excellent and deeply poetic trilogy, cast an unusally enthralling spell over me through its lyrical power. Standing as a towering achievement, not only for the incredibly young yet wise-beyond-his-years playwright, but also for its outstanding ensemble,
The Brother / Sister Plays may ultimately prove to be the most important new work of this new decade.
Director
Tina Landau's singular focus ensures that McCraney's immense gift for language dances just as soulfully across all three portions of this mighty work as does the beautiful choreography from its first installment
In The Red And Brown Water. Each play is anchored by the impeccable
K. Todd Freeman as Ogun Size, arguably the heart pulsating throughout this ambitious work; Freeman imbues Ogun with a rare level of humanity that makes him and
The Brother / Sister Plays simply breathtaking to watch.
3 - Ruined (New York City Center Stage I, Manhattan Theatre Club, New York City, New York)
It wasn't until this Theatrical Season that I finally saw
Lynn Nottage's devastatingly exceptional
Ruined. What Nottage and director
Kate Whoriskey achieved with this heartstopping, excellent production was nothing short of monumental. They skillfully succeeded in placing many a human face on those who are grossly dehumanized even if it ranks as one of the most difficult plays I ever sat through.
Nottage created some of the year's most remarkable female roles, including a madame named Mama Nadi (a superb
Portia) whose brothel doors are open to military officials and rebels alike. Nottage endowed each of her central characters with a breathtaking resilience, and a surprising degree of good humor. Ultimately, they demonstrated grace and resolve in their desperate attempts to rise above it all.
2 - Red (John Golden Theatre, New York City, New York)
John Logan's magnificent
Red, masterfully directed by
Michael Grandage, has forever changed how I'll view abstract art, particularly that of artist
Mark Rothko. Imported directly from London's
Donmar Warehouse,
Red intrigues and titillates the senses with its potent examination of the internal conflicts Rothko (an excellent
Alfred Molina) may have endured.
Molina paints his Rothko with a tortured, self-conscious brilliance that turns ferocious on dime, including on his young protégé Ken, a captivating
Eddie Redmayne, in an absolutely stunning Broadway debut. Together, they transform
Red into a modern-day masterpiece.
1 - Brief Encounter (McGuire Proscenium, Guthrie, Minneapolis, Minnesota)
The all too
Brief Encounter stood out as one of the most magnificent entertainment productions you were likely to see anywhere this past year.
As its conceit, director
Emma Rice ingeniously builds on the precepts from the Oscar-nominated
1945 motion picture written by
Noël Coward about two married individuals who enjoy a chance meeting in a train station only to find themselves swept away in a mad love affair. Silver screen images are shown on the stage, but it's seemlessly brought to life with a captivating fusion with live theatre. Topping off this delectable treat is a perfect blend of music from the era that breaks the fourth wall.
To say much more beyond this doesn't seem fair because this excellent production has to be seen to be believed and fully appreciated. But I'll add one more thing. It took
Brief Encounter's spellbinding trip back in time to catch a glimpse of the future in entertainment and the integral role projection designs -- like those offered here by
Gemma Carrington and
Jon Driscoll to mesmerizing, dramatic effect -- can have in stage productions. Fortunately, Broadway audiences will have their
chance this fall to encounter this excellent work that defies description.
So what were the best new plays
you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.
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: Best New Plays, Brief Encounter, Red, Ruined, SOB's Best of 2009-10, Superior Donuts, The Brother/Sister Plays
SOB's Best Of 2009-10: Best Play RevivalsDuring the 2009-10 Theatrical Season, I've had the opportunity to see over 80 performances of a wide range of new and revived musicals and plays, as well as other theatrical events.
Unlike this past year's selection of musicals, the plays were once again "the thing." That included a terrific array of play revivals on Broadway as well as other venues near and far.
So, without further ado, here is my list of the "5 Best Play Revivals" over the 12 months ending April 30, 2010:
5 - American Buffalo (Downstairs Theatre, Steppenwolf, Chicago, Illinois)
Director
Amy Morton’s retro-cool revival of
David Mamet's
American Buffalo was a veritable feast for the senses. This
Steppenwolf production succeeded in spades.
Steppenwolf ensemble members
Francis Guinan as Don and
Tracy Letts as Teach were both in prime (and even primal) form. Even while practically chewing the scenery, Letts found all the subtle shadings of this most shady character while Guinan offered such an amazing air of authenticity that you could practically smell him from your seat.
4 - A Streetcar Named Desire (Harvey Theatre, Brooklyn Academy Of Music, Brooklyn, New York)
The hottest ticket in New York last year was actually over in Brooklyn. And with good reason. Director (and onetime actress)
Liv Ullmann mounted a crackling revival of
Tennessee Williams'
A Streetcar Named Desire. By that, I mean one that expertly found each of the fissures and cracks in Blanche DuBois, arguably Williams' most artfully drawn character.
The revival became a must-see event not only because it starred the magnificent
Cate Blanchett, but also because it so forthrightly showcased this classic work for what it is -- one of the best plays ever written. As Blanche DuBois, the superbly luminescent Blanchett offered a remarkably balanced portrayal that evenly teetered from one extreme to the other. Unafraid to embrace Blanche's sensually needy side, Blanchett demonstrated that there was still plenty of rouge left in this faded rose, even amidst the thorns that were so painfully evoked.
3 - Fences (Cort Theatre, New York City, New York)
It may be
Denzel Washington's name above the title in
Kenny Leon's exceptional, if exhausting, revival of
August Wilson's monumental
Fences. Yet it's
Viola Davis' name you'll be praising long after exiting Broadway's
Cort Theatre. Make no mistake, Washington excels in delivering a solid line drive as Troy Maxson, a former Negro League baseball player with a wandering eye.
But as Troy's wife Rose, Viola Davis hits this one out of the park with the most extraordinary, heartwrenching performance of the year. It's a grand slam, even in a play that feels like it's never going to end. It's a credit to Leon and Davis that we almost don't want it to.
2 -Brighton Beach Memoirs (Nederlander Theatre, New York City, New York)
I wasn't prepared to be this astonished. Nothing could have prepared me for the earnest and devastating charms found in
Neil Simon's superb
Brighton Beach Memoirs. This semi-autobiographical period piece received an excellent (though sadly short-lived) Broadway revival, flawlessly executed by director
David Cromer. Through
Brighton Beach Memoirs, Cromer further burnished his credentials as a brilliant, visionary master at breathing vigorous new life into classic material.
An exuberant
Noah Robbins made an impressive Broadway debut as Eugene Jerome, Simon's young alter-ego. With winsome appeal, Robbins captivated and enthralled. And as outstanding as he and the rest of the ensemble were,
Laurie Metcalf was an unmitigated, complete triumph as Eugene's mother Kate. Without ever overshadowing the rest of the cast, Metcalf delivered one of the year's most withering, nuanced performances. Simply put, Metcalf was amazing in this outstanding revival.
1 - Twelfth Night (Delacorte Theatre, Central Park, New York City, New York)
Love was in the air, and that breeze blowing straight through Central Park was
William Shakespeare's
Twelfth Night.
Daniel Sullivan’s lovely, gorgeous revival was brimming with bawdy charms and an extraordinary ensemble, including
Raúl Esparza as Orsino,
Audra MacDonald as Olivia,
Julie White as her attendant,
Michael Cumpsty as Malvolio and that consummate scene-stealer
David Pittu as Feste.
Was it any wonder that rain or shine, this was a formidable mounting with which to be reckoned and revered? Add to that mix film actress
Anne Hathaway’s mesmerizing turn as Viola, and those lucky enough to get tickets witnessed a wondrous new theatre queen being born. I walked out of Central Park both enthralled and enchanted.
So what were the best new revivals of plays
you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.
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: A Streetcar Named Desire, American Buffalo, Best Revival of Plays, Brighton Beach Memoirs, Fences, Play, SOB's Best of 2009-10, Twelfth Night
SOB's Best Of 2009-10: Best Musical RevivalsDuring the 2009-10 Theatrical Season, I've had the opportunity to see over 80 performances of a wide range of new and revived musicals and plays, as well as other theatrical events.
This year's musical revivals were, on the whole, better -- if only marginally -- than the season's new musicals, but there were some major misfires among them. Yet there were some real gems I was fortunate enough to see.
So, without further ado, here is my list of the "5 Best Musical Revivals" over the 12 months ending April 30, 2010:
5 - Ragtime (Neil Simon Theatre, New York City, New York)
Few musicals have captured the shifting American landscape inherently contained at the dawn of the 20th Century as powerfully as
Stephen Flaherty and
Lynn Ahrens' underappreciated heartfelt musical
Ragtime.
In
Marcia Milgrom Dodge's genuinely moving yet short-lived new revival,
Christiane Noll imbued her Mother with grace, dignity and substance. She was complemented by
Bobby Steggert's brilliant performance as her younger brother.
4- A Little Night Music (Walter Kerr Theatre, New York City, New York)
Yes,
Trevor Nunn's revival of
Stephen Sondheim's glorious
A Little Night Music was at the
top of my list last year, but since the Broadway production feels so different, I'm judging this incarnation on its own. While this nearly replicated staging of the London work hardly fills the stage and could have --
should have -- been scaled appropriately upward, it mostly works because of the splendid score and ingenious storyline.
While the incandescent
Catherine Zeta-Jones' megawatt star power certainly lights up the stage, albeit with a similarly forced "I'll prove to them I'm up to the challenge" moxie she demonstrated in "
Chicago," it's
Angela Lansbury (Madame Armfeldt) who commands the stage every time she's on it. It's pure bliss to see her return to Broadway in a musical role, and it's more than enough to land the revival on my list.
3 - Disney's Beauty And The Beast (Main Hall, Ordway Center For The Performing Arts, St. Paul, Minnesota)
Sure, the tale is as old as time. But St. Paul's Ordway made
Disney's Beauty And The Beast revival seem like new again. In a surprising delight,
Robert Johanson's incredibly fresh and fully-realized revival was stunning with spirited acting, boisterous singing and rousing choreography.
Jeremiah James brought exceptional depth to the role of the Beast, humanizing him with tremendous skill. The comedic triple threat
Jonathan Burgard succeeded in stealing practically every scene by adding real muscle to his Gaston. They helped make this
Beauty And The Beast offering a feast for the eyes to behold.
2 - La Cage Aux Folles (Longacre Theatre, New York City, New York)
Revived with unmistakable sparkle, however tarnished, by director Terry
Johnson, this downsized
La Cage Aux Folles is what it is. It's a solid period piece populated with men who may dress in drag, but have more guts, ironically enough, in coming to terms with who they are than their less flamboyant counterparts.
Harvey Fierstein's book and
Jerry Herman's glorious tunes get to the heart of how any relationship, gay or straight, endures. And as performed by
Kelsey Grammer (Georges) and
Douglas Hodge (Albin), it's not only deeply moving, it's practically heartbreaking. Hodge in particular scores with his defiantly scorching rendition of "I Am What I Am."
1 - The Full Monty (McKnight Theatre, Theatre Latté Da, Ordway Center For The Performing Arts, St. Paul, Minnesota)
Last fall, I offered just two words to my dear readers: "Drop everything" to get to St. Paul to see
The Full Monty.
In one of those rarest of rarities,
Theater Latté Da's excellent and thoroughly enjoyable production was actually much better than the
Broadway original.
Under
Peter Rothstein's exceptional, confident direction,
Terrence McNally's book and
David Yazbek's underrated score became even more salient, all the more gripping and certainly more entertaining today.
Rothstein's direction was a marvel unto itself. In what was his best production yet, he stripped
The Full Monty down to its grittiest, barest essentials and dressed it up with one of the best ensembles I saw anywhere this past year. No wonder so many Minnesotans shook their money-makers over to the Ordway to catch this sexy, fun and uplifting
Full Monty.
So what were the best new revivals of musicals
you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.
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: A Little Night Music, Beauty And The Beast, La Cage Aux Folles, Ragtime, SOB's Best of 2009-10, The Full Monty
SOB's Best Of 2009-10: Best New MusicalsDuring the 2009-10 Theatrical Season, I've had the opportunity to see over 80 performances of a wide range of new and revived musicals and plays, as well as other theatrical events.
For the third year in a row, I've been the least enthusiastic about the quality among new musicals. But as disheartening as the last two seasons prior to this one were, the season just ending was particularly dismal, as even
The New York Times'
Charles Isherwood has so eloquently asserted.
That's not to say that there weren't new musicals I've enjoyed over the past year, but the offerings I've seen had me really reaching for a full complement of my five favorites.
While it was tempting to completely shelve by usual "5 Best New Musicals" list altogether, I've opted instead to do away with my "5 Worst" list of shows because it would just be a tad too depressing.
So, without further ado, here is my list of the "5 Best New Musicals" over the 12 months ending April 30, 2010:
5 - Everyday Rapture (American Airlines Theatre, Roundabout Theatre Company, New York, City, New York)
Dismiss
Sherie Rene Scott’s
Everyday Rapture as nothing more than Broadway navel-gazing at your own peril. It’s Scott’s very soul that’s laid completely bare in this most improbable of Great White Way shows.
Wearing her enormous heart on her sleeve, Scott manages to win ours as she shares her semi-semi-autobiographic journey in a very winning, surpising and often poignant way. Scott enraptures you throughout with talent that’s anything but everyday.
4 - Memphis (Shubert Theatre, New York City, New York)
With a whole heck of a lot of hockadoo, the rhythmically-infused
Memphis is a dazzling destination worth the trip. As one of the year's only original musicals,
Memphis is, if not entirely fresh, a solid crowd pleaser that will have you cheering.
Two principal reasons are
Chad Kimball and
Montego Glover. With a folksy swagger, Kimball's Huey is a great ball of fire who can't be extinguished. Then there's Glover's Felicia in which we witness an amazing ascent both for a captivating character and an immensely impassioned new Broadway star. Glover took my breath away. The boundless soul within
Memphis has the power to rock your heart.
4 - Caroline, Or Change (Wurtele Thrust Stage, Guthrie, Minneapolis, Minnesota)
Finally! Change I could believe in. While
Tony Kushner and
Jeanine Tesori's
Caroline, Or Change may not truly fit the definition of "new," I'm including it here since I had never seen it until it played Minneapolis last summer. This intensely profound, mystical musical as directed and choreographed by Marcela Lorca transfixed and even tranported me.
Greta Oglesby's brave turn as Caroline alone was worth the price of admission. She wrung every last drop of pathos out of her performance, making her Caroline infinitely sympathetic. As Oglesby transformed during this musical, she broke my heart.
2 - Chita Rivera (Birdland, New York City, New York)
If the 77-years young Dolores Conchita Figueroa del Rivero, better known as
Chita Rivera, hadn't been born the Broadway Baby she is, the Great White Way would have had to invent her. The fact that she's the genuine article who's still going strong after all these years not only becomes her tenacity, but it's a testament to her courage and talent.
What really becomes Chita Rivera is that she continues to mesmerize adoring audiences as she had proven yet again during her all-too-brief cabaret stint late last year at
Birdland. Sure, we've heard many of the enchanting anecdotes before. But when the enduring and endearing Ms. Rivera can still run circles around gifted performers half her age, she effortlessly retains the mantle as the singular consummate entertainer of our time. If you've never seen Chita Rivera perform live, you simply haven't lived.
1 - Fela! (Eugene O'Neill Theatre, New York City, New York)
Bill T. Jones' sublime
Fela! dares to dream its own stylized mantle of "most original new musical on Broadway." Infused with the rascally
Fela Kuti's radicalism and rhythms, this revolutionary tuner is almost all originality, with little artificiality.
In what has to be the most transcendent musical to descend upon a Broadway stage in years,
Fela! envelopes the senses in this most unusual of jukebox musicals that simply defies description and exceeds all expecations.
Jones has conceived a living, breathing, pulsating and truly magical musical monument to a man most in America may never have heard of. In telling Kuti's story and showcasing his infectious music, it's a tribute to Jones that he makes us feel
Fela! so deeply.
Fela! is one of the most compelling and affecting musicals you're likely to see this or any other year. As an equally entertaining piece of musical theatre, I can't fail to strongly recommend this captivating and worthy show. Long live
Fela! So what were the best new musicals
you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.
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: Caroline Or Change, Chita Rivera, Everyday Rapture, Fela, Memphis, Musical, SOB's Best of 2009-10
