The Bridges of Madison County is Almost Real(ly Good)

Soaring melodies, lush arrangements, romantic performances, and the voice of a Broadway generation, these are Hallmarks of The Bridges of Madison County, based on the novel and movie of the same name. If you don't mind sacrificing plot depth for musical complexity, then skip on down to the Schoenfeld where Bartlett Sher is taking audiences on a tour of Iowa eight times per week. It is a simple story where we learn about the Johnsons, a seemingly average Iowa family. Bud is a former soldier and his wife Francesca (Franny to the locals) is an Italian war bride. They live on a farm with their two children and all is well until Francesca is left home alone for a few days and Robert Kincaid, a mysterious photographer and soon-to-be love of her life appears on the farm.

Kelli O'Hara and her voice are the true stars of this production. I've seen her in other shows and concerts, and while she is always fantastic, she was born to play this role. It is a different type of character than we've seen her play in the past, no longer an ingenue, and Brown's music sits right in her sweet spot. Her Francesca feels like a Rodgers and Hammerstein's leading lady with a lot more issues. These flaws make her Francesca feel more contemporary and therefore, relatable in a way that she's "Almost Real," hence my title. Francesca is every woman who has ever been in a loveless marriage, has regrets, or wishes her life would have turned out differently. I'm slightly appalled that I would get behind a character who would sacrifice her family for another man, but when Francesca takes us through her past and we see how much she has endured, we want her to have every bit of happiness. O'Hara does an Italian accent, and I thought it would be a distraction, but after the first few minutes of the piece it seems so natural that you don't even question in. In fact, in makes her seem more exotic and even more out of place in the flat Iowa farmland. Vocally, this is the best she has ever been. Her soprano is a breath of fresh air in an era where you can't go into a Broadway house without hearing belting, or even worse, screlting. Her singing is very controlled for the majority of the show, but there are a few times that she really let's it fly, especially in "Almost Real" when she takes us back to Italy and in "Before and After You/One Second & a Million Miles," during her last moments with Robert.

It's hard to believe that this is Steven Pasquale's Broadway musical debut. Why on earth hasn't some director scooped him up? Because he is fresh for the musical theatre audience, he works even more perfectly as Robert. First of all, he is terribly handsome and just rugged enough to make us believe he was a former cowboy and current vagrant artist. His brilliant baritone really makes Brown's music sing, no pun intended, and his chemistry with Francesca Kelli O'Hara is undeniable. It is a credit to their acting that the forbidden affair between their characters becomes something that the audience not only accepts, but actually roots for. Pasquale portrays Robert as a shy, polite gentleman who simply tries to keep to himself until fate puts him on Francesca's front porch. His intensity grows throughout the show in a way that feels natural and honest, peaking during his final moments of Francesca. When we see Robert again at the end of the show, he is quiet and reflective, resigning himself to the fact that he will live his final days alone in such a way that we as the audience and heartbroken that he never tried to go after her again.

The songs are the heart and soul of the show, as they should be with a composer such as Brown who is known for his nuanced and layered music, but this also highlights the weaknesses of the book. Outside of the songs, the characters aren't particularly well-developed. This is fine for Francesca and Robert, who sing the majority of the songs, but it is a true disservice to the rest of the characters. For example, Bud, (Hunter Foster) Francesca's husband, is written as so flat and boring that the audience roots for the affair and pulls for Francesca to leave him. It is only the presence of their children that makes Francesca's decision a true moral dilemma, not only for her, but for the audience. And even the children, Carolyn (Caitlin Kinnunen) and Michael (Derek Klena) have few redeeming qualities. Both are written, and acted, as so whiny and annoying that it's no wonder Francesca can finally let her hair down when her family goes off to the Indiana State Fair. Marge (Cass Morgan) is the one likable member of the supporting cast. The nosy neighbor could easily become a caricature, but as she nails the one-liners with such zip, she also shows her heart in the end when she just subtly lets on that she knew about Francesca's affair all those years ago and never once judged her for it.

Bartlett Sher's direction is pretty traditional, highlighting the romance and beauty of the score and his two leads. It's actually quite similar to his work in The Light in the Piazza. He does spice things up a little, particularly in Act I, with a scene that can best be described as a flashback. As Robert tells Francesca about his first wife, Marian (Whitney Bashor) actually takes the stage to sing the story. Sher took a stab at a different type of storytelling, but it just doesn't feel particularly necessary. Bashor does have a fantastic voice, but it seems like Sher liked the actress and created a character for her that wasn't integral to the story. The montage scene near the end of Act II is a triumph for Sher in that it covers several decades seamlessly without feeling forced. In another director's hands this scene could have really dragged on, but he keeps it moving with Brown's bluegrassy/folksy "When I'm Gone".

The Bridges of Madison County has the makings of Jason Robert Brown's first big broadway hit. He is known for The Last Five Years, Parade, and other slightly more offbeat shows, but this piece was clearly written with Broadway patrons in mind. It is a "big show" in every sense of the word. You have a marriage-turned-love triangle unfolding in a gossipy small town in the ever changing 1960s. All of this is the perfect framework for drama and music. We've all heard the old theatrical adage "we sing because we can't speak anymore," and it plays out perfectly in this show. Emotions are running high throughout, which leads perfectly into the songs, particularly in Act II. Brown blends his layered, complex musical sensibility with the local character of Iowa to create a folksy, yet sweeping piece of Americana. This score harkens back to Aaron Copland as much as Stephen Sondheim. If you're looking for a perfect production, this show isn't that, but then again what is? I, and I think most people, see musicals for the score and the performances, so if you go in the right frame of mind, O'Hara and Pasquale's voices and Brown's music will sweep you away.

Our Review of HANDS ON A HARDBODY

I wanted to love this show, I really did. Hands on a Hardbody, now running at the Brooks Atkinson Theatre,has all my favorite ingredients in a new Broadway show: an American creative team telling a uniquely American story, a solid cast, brand new music with a country twang, an innovative concept, and a successful out-of-town run at La Jolla Playhouse. There is nothing else like it on stage in New York. However, this new musical stalls on many levels.

The show’s premise is interesting enough. Hands on aHardbody is based on the 1997 documentary of the same name that follows contestants in a cutthroat Texas contest to win a brand new Nissan pick-up truck. The group of tenmust keep one hand on the truck at all times; the last competitor standing takes home the truck, and with it, a whole new lease on life.

This contest brings together a wide range of eccentric characters, skillfully represented by a talented ensemble cast. I can’t tell you how refreshing it was to see actors of all shapes and sizes on stage- it is a story about “normal” Americans after all! Keala Settle as the Jesus-loving, gospel-singing Norma Valverde is the unquestionable stand out of the group. Settle’s earnest, joyful performance is only enhanced by her “knows no bounds” vocal chops. The woman can belt! Hunter Foster is almost unrecognizable playing the goatee-clad, arrogant, intimidating Benny Perkins who has already won a truck in the same contest last year. Foster’s vocal strength and stage presence anchorthe cast throughout the show. Allison Case and Jay Armstrong Johnson are delightfully awkward as the youngest competitors, dreaming of a more exciting life outside of Texas is in the song “I’m Gone.” I love Connie Ray in just about anything (any fellow fans of “TheTorkelsons” out there?), and she adds some much needed humor to the show as the struggling dealership’s marketing director. Honestly, there are no weak acting performances, just weak material.

Despite my affinity for country/pop music, I foundHardbody’s score, written by Trey Anastasio of Phish and Amanda Green, dull and forgettable. The one trueshowstopper is “Joy of the World,” the gospel song turned full cast percussion experience lead by the infectious Settle. I wouldn’t have minded a few more “Joy” moments myself. The lackluster songs come in succession one right after another with very little dialogue in between. Lucky for me, several songs had been cut from the show since the beginning of previews, keeping the run time to 2 hours 20 minutes (which still seemed too long).  The choreography (or should I say “car”eography, since almost all the numbers revolved around the bright red pick-up truck on stage) was just as monotonous. The car-eography was clever at first, but after an hour or so, I think we can ditch the truck for a few numbers.

Ultimately, I wanted to know more about each of the contestants, especially the ones who make it past the first day or so of grueling competition. Each character is written as a vague archetype: the Iraq-war veteran, the first-generation Mexican-American trying to pay his way through college, the mother of five with bills to pay, etc. Thus, I felt no emotional connection to any of the contestants. I didn’t really care who won the truck, which defeats the whole purpose of the show. I wanted someone to root for. Perhaps some extra visits from family members or boyfriends or bar buddies would have given the audience some more insight into the lives of these characters, but as written, the characters are not fully developed. And for a musical set in the parking lot of a Nissan dealership in Longview, Texas, there are very few light moments or joking to be had in such an absurd situation. Instead of jokes, Doug Wright’s book includes random and abruptpolitical commentary on everything from illegal immigrants to veterans’ affairs.

Overall, Hardbody was a nice try. I think it could have benefited from an off-Broadway run where the creative team could have streamlined the story and music numbers, but I’m glad an innovative American musical made it toBroadway nonetheless. The actors’ performances are stellar (again, Keala Settle is a force to be reckoned with), despiteweaknesses in the material. I really wanted to love it, butHands on a Hardbody never makes it out of the parking lot.

Win a pair of tickets to HANDS ON A HARDBODY on BROADWAY!

TEN Contestants.
FOUR Days.
ONE Truck.

A new musical about holding onto a dream…and not letting go.

For ten hard-luck Texans, a new lease on life is so close they can touch it. Under a scorching sun for days on end, armed with nothing but hope, humor and ambition, they’ll fight to keep at least one hand on a brand-new truck in order to win it. In the hilarious, hard-fought contest that is HANDS ON A HARDBODY only one winner can drive away with the American Dream.

Inspired by true events, this new musical features a book by DOUG WRIGHT (Pulitzer Prize winner, I Am My Own Wife), lyrics by AMANDA GREEN (Bring It On: The Musical), and music by Trey Anastasio (Phish) and Amanda Green. Directed by Neil Pepe (Speed-The-Plow) with musical staging by SERGIO TRUJILLO (Jersey Boys, Memphis), it is based on the acclaimed 1997 documentary of the same name by S.R. Bindler, produced by KEVIN MORRIS and Bindler.

To enter, answer the following question in the comments section below by 12pm on Sunday 2/10. Remember to leave your email address so I can contact the winner!

Hunter Foster stars in the role of Benny Perkins. He recently made a cameo on an ABC Family show. What was the show and how is he connected to the star?

Good luck and please stop back for more contests in the coming weeks!


Website: http://www.handsonahardbody.com/

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Broadway & Hollywood: Harmonious Marriage or Torrid Affair?

I have been waiting to discuss the Broadway community's internal conflict over the presence of Hollywood on the Great White Way until I had completely sorted out my own thoughts on the subject and I'm finally ready to comment. I saw the writing on the wall during this year's TONY awards ceremony when Scarlett Johansson, Denzel Washington, and Catherine Zeta-Jones, all film actors, won the TONY award in each of their respective categories. The backlash from certain Broadway "purists" was almost immediate with a facebook group aiming to "Give The TONYs Back To Broadway" which now has nearly 9,000 followers. It is important to note that the performers leading this charge against film actors are not Broadway headliners, other than TONY nominees Hunter Foster and Christopher Sieber, but primarily chorus members. This adds a new layer to the argument as their protest may simply be a cry for the fame that they have sought but never achieved. But that is neither here nor there.

The primary argument made by Foster, Sieber, and company is that the TONY awards should be a celebration of a year in the theatre and the greater Broadway community rather than a showcase for Hollywood celebrities and commercial musicians like Green Day. In fact, this year's opening number was themed "pop songs that you didn't know were from musicals," which was clearly an attempt to sell Broadway to mass audiences. As a performer myself and a believer in creating theatre for artistic, rather than commercial gain, I completely understand where these performers are coming from. However, I also realize that Broadway is a business and that it needs to take in enough revenue to sustain itself for future generations.

I'm sure we would all love to return to the Golden Age of Broadway where theatre actors were revered and musicals were star vehicles for leading ladies like Julie Andrews and Barbra Streisand and audiences would see shows simply because they loved the music, stories, and costumes. But something changed with American audiences, perhaps it was the growth of television, and the theatre began to lose its status.

The big budget musicals of the 1980s, notably Les Miserables and The Phantom of the Opera, found a new way to attract audiences to the theatre. The producers of these shows found that if audiences, particularly tourists, could be wowed by elaborate sets and special effects, they did not mind paying a higher ticket price. This age of Broadway saw not only a dramatic increase in ticket prices, but also a change in mindset as audiences wanted to see their money on stage in the form of sheer spectacle rather than performance and talent.

This brings us to the box office tactic known as "stunt casting". Casting B-list celebrities in long-running shows, such as Ashlee Simpson in Chicago, Mario Lopez in A Chorus Line, and Lance Bass in Hairspray are all examples of this practice employed by certain Broadway producers to boost tickets sales. While it is great for audiences to see their favorite stars onstage, these actors from film and television take jobs away from theatre performers who have work very hard to rise out of the chorus. The reasons for casting major stars in Broadway productions are similar to stunt casting in that their names and starpower draw large audiences. But now that I've explained the background information, it is time to get to my opinions.

First, I think it is important to look at the broad scope of things before passing judgement. For every Hollywood actor that was rewarded with a TONY this season, there were many theatre actors that were also rewarded. Yes, Scarlett Johansson won the Best Featured Actress in a Play category, but an up an coming theatre actor, Eddie Redmayne won the Best Featured Actor in a Play category. In the musical performance categories, 3 of the 4 winners, Katie Finneran, Levi Kreis, and Douglass Hodge are theatre actors through and through, with Catherine Zeta-Jones being the only Hollywood gal, and even she got her start in 42nd Street on London's West End.

I look at this issue as a give and take between the Broadway Babies and the visiting Hollywood starlets. Big stars guarantee ticket sales, giving directors and producers a financial cushion so they can take risks with their productions. For example, outside of the hardcore Sondheim fans, this season's revival of A Little Night Music probably would not have had much of a fan base, if any at all, without Catherine Zeta-Jones leading the cast. But because a well known actress signed on with the show, this incredible piece of theatre was brought back to Broadway and a whole new generation of fans, not to mention it employed an entire cast of Broadway actors. Also, because Zeta-Jones' run in the show was such a box office success, the show can have a life even after she leaves. And best of all, Broadway fans will have the treat of seeing our very own Bernadette Peters and Elaine Stritch lead a show that may never have been revived at all without Miss Zeta-Jones.

It is my personal belief that live theatre must live on and it must continue to affect new generations of theatre-goers in anyway possible as long as the integrity of Broadway is preserved. I am still opposed to the "stunt casting" of shows with B-list celebrities, but I fully support the incorporation of trained and dedicated film actors, Denzel Washington among them, into Broadway productions if that is what it takes to get people into the theatres. I will even guess that most of the people who saw A View From The Bridge merely for Scarlett Johansson left with an appreciation for Arthur Miller, one of most beloved American playwrights in our history. I'm going to go out on a limb and say that almost all of those Scarlett fans are now Broadway fans that will continue to see theatrical productions for years to come, and that is just fine by me.