2017 TONY Awards Live Blog

11:13 Patti's is the last face I want to see on the TONYs
11:11 I love that shoutout to Peter Marks!
11:09 Best Musical: Dear Evan Hansen
11:07 Frank Underwood hands Lin the envelope
11:04 Bette clocked in a 15 minutes
11:00 Best Actress in a Musical: Bette Midler
10:59 I just DIED when Glenn Close had to announce Patti's name
10:55 Best Actor in a Musical: Ben Platt
10:51 These TONYS are disappointing me; a general lack of energy
10:44 Best Revival of a Musical: Hello Dolly
10:40 Colbert says more political jokes that aren't clever at all
10:28 I almost left Oslo at intermission but then Michael Aronov showed up and I couldn't get enough
10:27 Best Play: Oslo
10:26 The snack bit is the only entertaining thing Kevin Spacey has done yet
10:15 Josh, get your accordion!
10:11 Best Revival of a Play: Jitney
10:10 Are the TONYs allowed to make fun of Hilary?
10:05 Lynn Nottage's glasses look like them came off of a Boyds Bear
10:04 If Patti and Christine don't tie, I quit
9:57 Patti's hat looks like Abu from Aladdin and Christine is sooooo statuesque
9:53 Best Direction of a Musical: Christopher Ashley, Come From Away
9:50 Taichman looks legitimately shocked...I like when that happens
9:37 Best Featured Actress in a Play: Rachel Bay Jones
9:33 Best Actress in a Play: Laurie Metcalf
9:27 Tommy Tune is just a real, old-fashioned theatre kween
9:19 I don't understand why Groundhog Day needed to be a musical
9:18 I don't understand how Kevin Kline beat Jefferson Mays
9:15 You know Patti died when Kevin mentioned John Housman
9:10 Poor Lucas Hnath lost his hairbrush
9:00 It's convenient when you get to perform after you win best score
8:59 I think Dear Evan Hansen is more mainstream but Great Comet was much more complex
8:58 Best Score: Dear Evan Hansen
8:57 I always forget Cynthia Erivo is British
8:54 Still thinking about that 80s jumpsuit realness
8:48 I love a good 80s jazzercise number
8:46 Cynthia Nixon is a true artist and a true theatre professional
8:45 Best Featured Actress in a Play: Cynthia Nixon
8:44 We need more arts teachers!
8:42 I kind of love how the playwrights are speaking about their work
8:41 I LOVE that all the nominated playwrights are 1st timers
8:35 How is this Miss Saigon selection going to sell tickets?
8:31 Yasssssssss Lea's fancy pantsuit
8:30 Gavin looks so fancy and I'm so happy he mentioned his education
8:29 Best Featured Actor in a Musical: Gavin Creel
8:28 Good lord Sutton is tall
8:27 Kevin looks like a neon blue smurf jacket
8:26 Catherine Zuber should've won best costumes for War Paint
8:23 Come From Away is beautifully uplifting
8:16 This is what a TONY speech should be about, your family and your art, not a guy in Washington DC
8:14 Best Featured Actor in Play: Michael Aronov, Oslo
8:10 Is this opening number over yet? I HATE IT!
8:08 Okay I will admit I did like the "Welcome to the Rock" segment, it was clever
8:07 I hate this opening number SO MUCH
8:06 Is this Natasha, Pierre, or Fiddler?
8:05 Colbert appears in a groundhog head, is he still a thing?
8:03 And we are going into a sendup of Groundhog Day with a clever repositioning of a cast
8:00 Kevin Spacey opens with an Evan Hansen spoof about not being the first choice to host 

Dear Evan Hansen

I saw it! I finally saw it! I purchased a ticked from Stubhub twenty minutes before curtain and ran to the theatre, but that is a story for another day. I resisted the urge to listen to the cast recording before I saw the show and I'm so glad I did. 

In terms of storytelling and musical tone, I would say this show is the child of Rent and Next to Normal, which interestingly enough, were both directed by Michael Greif. Pasek and Paul's songs serve the characters, and the book brings the characters to a place where they can sing. They live harmoniously in the world of Steven Levenson's book. This isn't a show where you feel the actors are breaking into song. The songs come from such a natural place and they grow out of the dialogue in the sense that you feel they're singing a conversation, not a song. 

Ben Platt's voice is in tip top shape, though it's his acting that truly shines. I saw the show several months into the run and he was giving an opening night performance. The nuance with which he colors his portrayal of Evan is both heartwarming and devastating, depending on the scene. "So Big/So Small" is a highlight for his mother Heidi (Rachel Bay Jones). She sings about how difficult single motherhood is and performances like these are why the "best feature actress" category was create for the TONYs. Laura Dreyfuss in the role of Zoe is so reminiscent of Natalie in Next to Normal, another show helmed by Greiff, in her ability to show vulnerability under a hard exterior. Will Roland gives another standout performance as Jared, Evan's family friend, who helps him build his web of lies and provides comic relief in and otherwise heavy show.

I sat in the second row of the orchestra and I don't think I've ever seen such raw emotion on an actor's face as I saw on Ben Platt's, particularly during his speech before he sings "You Will Be Found". I am a teacher and I have many students who, like Evan, suffer from social anxiety. In the hands of a less capable actor, Evan could have easily become a caricature or a joke, but Platt plays him with such honesty and humanity. His facial expressions and vocal inflections are reminiscent of those I see everyday in the classroom as children struggle to make friends and fit in. I'm sure that they feel invisible like Evan and Connor. I only wish they could see this fantastic production and find hope that one day things will be different and they will only have to be themselves.

Come From Away

Come From Away is the second big musical to come to Broadway this season after a successful run in DC. This unique new show is written by Irene Sankoff and David Hein. This is not the first show to explore facets of 9/11, but it's certainly a fresh take. The creative team interviewed residents of Gander, Newfoundland and the people who were temporarily stranded there during the terrorist attacks.

This musical is much more uptempo and hopeful than you would expect. It certainly references the 9/11 attacks and who the passengers felt when they could not find their loved ones, but it focuses more on the humanity of the Gander residents. We learn that Gander is a town of around 7,000 which is ironic because they took in nearly 7,000 displaced people during the week of the attacks. The folksy, small town attitude of Gander is reflected in the music. The score is energetic and homey with a few more pensive ballads mixed in, though you won't leave humming any particular tune. The songs really run together, not because they aren't memorable, but because the pace of the show is so rapid and is directed in such a way that the action is nonstop with seamless transitions. Jenn Colella's "Me and the Sky" is a highlight as Beverly sings about her struggle to become one of the first successful female pilots. There is a lyric where she, reflecting on the terrorist attacks, says that the thing she loved most in the world was used as a bomb. It will darn near break your heart. This cast features Broadway veterans Chad Kimball and Kendra Kassebaum, though it is truly an ensemble piece with no leads in the traditional sense.

Christopher Ashley's direction and Kelly Devine's choreography are beautiful in their simplicity. Did they borrow the chairs from The Color Purple? The actors rarely leave the stage unless it is to grab a new shirt or take off a hat. The performers and chairs are the set, making everything from an airplane to a bar. This choice creates an often frantic and chaotic scene on stage that mimics what the Gander locals felt like when the size of their town doubled for those five days. I never once felt that I was watching a scene, but rather a continuous stream of action and emotion. The kindness of the people of Gander is palpable, as is the gratitude of the come from aways. I was emotional through the entire show and choked up several times when I remember that I wasn't just watching a performance, but a real story of the goodness that can emerge in horrifying situations.

I couldn't help but shed a tear when I thought about the people from my own small hometown. I know they would have reacted in exact same way that Gander did: cooking, gathering supplies, and hugging nonstop. I think people from small towns will appreciate this show a little more than city folk. We know our neighbors, we say hello to people in the grocery store, and we all know people like Annette, Bob, and Beulah. Canadian Prime Minister Justin Trudeau will be attending opening night, and if it's good enough for him, it's good enough for me. We certainly owe a debt of gratitude to our neighbors up north for their role in helping America through that most horrific time of grieving. 

Come Back, Little Sheba

Elia Kazan once said of William Inge that he wrote with "quiet terror". This is a perfect characterization of Come Back, Little Sheba, produced in repertory with Picnic by Off-Broadway's The Transport Group. This 1950s drama begins in the midwestern home of Doc (Joseph Kilinski) and Lola (Heather Mac Rae) Delaney. Marie (Hannah Elless) is an art student boarding in their home, and from the opening moments Doc's attraction to the beautiful young Hannah is palpable. His aversion to her playboy boyfriend Turk (David T. Patterson) goes beyond paternal protection and verges on jealousy. It is revealed early in act I that Doc suffers from alcoholism and Lola encourages his sobriety by asking him to repeat the serenity prayer. This is the only the tip of the iceberg of difficult themes examined in Inge's first play.

Jack Cummings III's production is staged in the round, which allows the audience of under 200 to observe the action up close, as if the characters are under a microscope. The dented kitchen cabinets, scratched coffee table, and torn couch depict a middle class lifestyle and a couple that could have been so much more. The Delaneys married young when Lola, the prettiest girl in her high school, became pregnant. They lost the baby and were unable to have more children, beginning a cycle of loss that included losing their dog, Little Sheba. Lola frequently dreams of Little Sheba and often calls out to her from the front door, as if in a trance. Mac Rae slips into a child-like state when she references her missing dog. Lola does not have the words to express the incredible void in her life and clinging to Little Sheba is her way of holding onto the life that passed her by.

The emotional climax in act II is extremely difficult to watch, but it also features the strongest acting. Doc realizes that Marie has had sex with Turk and he spins out of control, finding solace in a bottle of whisky. Unable to cope with Marie's lost innocence, he stumbles home and takes decades of despair out on Lola. Kilinski's portrayal of an alcoholic at the end of his rope is absolutely gut wrenching. He is erratic, twitchy, and the look in his eye as he berates Lola is nothing short of murderous. His insults are shocking as he calls her fat and a slut. Mac Rae's Lola is resolute on the outside while she is clearly crumbling inside, listening to her husband dig into every insecurity she feels. The most uplifting moment in the show occurs when the neighbor, Mrs. Coffman (Jennifer Piech) comes to her rescue. Her strength and nurturing keeps Lola from falling apart. A few days later, Doc returns and apologizes, though for what he does not remember, realizing how much he needs his wife to retain some semblance of normalcy.

In the final scene, Lola discusses a recent dream and agrees to stop calling for Little Sheba. Doc replies that it doesn't make much sense to continue, and she goes back to scrambling his eggs. They have resumed life as usual, but has anything really been resolved? This is an unfortunate reality for so many small town families as life must go on, and realizing ones dreams is secondary.

The show's themes are heavy, and the small size of the theatre and proximity to the actors increase the intensity exponentially. It is crucial to go into the show in the correct mindset. You cannot see this piece and expect to go about your day normally. It gets under your skin and makes you examine your own family, particularly if you grew up in the Midwest. 

In Transit

In Transit is a feel good show that makes New York City look like a squeaky clean place where everyone gets alone, smiles at one another, and finds their path in life. I wish this were true, but those who live here know differently. When is the last time you spoke to a random stranger on the subway? We don't look up from our phones long enough to make eye contact, let alone actually have a conversation.

In Transit is the first Broadway musical to feature a cappella music. The creative team features Kristen Anderson-Lopez of Frozen fame, though this piece doesn't soar nearly as high. One's opinion of this show will depend largely on their fondness for a cappella music. I honestly find it exhausting to listen to. For me it's overwhelming to hear all of that sound and try to take it in while also trying to decipher lyrics and a story. If you sang in one of those vocal groups with a quirky name in college, you may feel differently.

This one-act goes by at a feverish pace. The intention is to keep the energy flowing, like a rush hour express train, though it keeps any character or storyline from fully developing. The majority of characters are stereotypes: the out of work banker, the closeted gay man with a born-again mother, his eager to be married fiance, a recently dumped twenty-something, and because it's New York, a struggling actress. These roles are performed with vocal precision and palpable energy by James Snyder, Justin Guarini, Telly Leung, Erin Mackey, and Margo Seibert respectively. The one character who is written in three dimensions is Seibert's Jane. She shows genuine heartbreak when she finally wins a Broadway role, only to have it stolen by a star. The best scene in the show involves Jane riding the subway back and forth to JFK, unable to get on the plane to her high school reunion and face failure. Boxman, a subway performer with whom she often crosses paths, gives her a few inspirational words that help her to press onward in her pursuit of Broadway.

This piece should do very well touring and regionally, particularly in places without public transportation. In this world, the subway is a land of opportunity where all of your dreams can come true. But, New Yorkers...we know better.

Sunset Boulevard

Every once in a while, a show lands a theatre that suits it perfectly. Wicked and Lion King can fill big barns like the Gershwin and Minskoff, Next to Normal was right at home in the intimate Booth, and then there is the revival of Sunset Boulevard, which I cannot imagine anywhere but the historic and grandiose Palace. The ghost of Judy Garland must be very much at home in this morose, reflective production.

As a Broadway fanatic, I am embarrassed to say I didn't have much knowledge of Sunset Boulevard other than the casting drama involving Patti LuPone. Glenn Close certainly has a commanding presence as the tragic Norma Desmond. Her voice is not first rate, though the vocal impurities add to the sadness of the aging diva who is cracking before our very eyes. That being said, I don't see anything singular about Glenn Close's permanence that wouldn't have been conveyed by any other film actress of a certain age. Jessica Lange comes to mind as another woman who could fill Demond's pumps. Lady Gaga is someone I could see playing the role in future revivals, but that is a conversation for another day.

Sir Andrew Lloyd Webber's scores are known for recognizable numbers that become hits, such as Music of the Night, I Don't Know How to Love Him, Memory, and Don't Cry for Me Argentina. Sunset has two such numbers in with One Look and As If We Never Said Goodbye. Both are show stoppers, and though Close doesn't sing "Goodbye" like Patti did, she acts the heck out of it. Unfortunately the rest of the score is largely forgettable.

The full orchestra onstage is one of the highlights of this production as it harkens back to the old MGM films of the golden age. This production features a few interesting technical elements, such as the interesting construction of Norma's car using actors and lights, and extremely ornate costumes that queens will die for.

The Patti fan in me loves to hate Glenn Close's singing, but you cannot deny her extraordinary range as an actress. The finesse and nuance in the final scene is a thing of beauty. After Norma kills Joe in a jealous rage, we have every reason to loathe her, but we don't. We cry for her when she shouts her famous line "Mr. DeMille, I'm ready for my close-up." This once powerful woman has been so undone by the pressures of Hollywood that she has tricked herself into believing that the present is not real. In the hands of a less capable actress, the scene would be pathetic, but the greats like Close (and LuPone) have you so cleverly nestled in the palm of their hand that you fall for their every move. 

Natasha, Pierre, and the Great Comet of 1812

Tolstoy's War & Peace is an obvious subject for a musical, right? This may be a loose adaptation, but Tolstoy's seminal work was the inspiration, nonetheless. I chose not to read much about the show before seeing it because I wanted to be surprised. I was expecting a classical, traditional piece of theatre. Consequently, I was shocked to hear a rock/folk opera. Dave Malloy's score is cerebral, evocative, and quite quirky. His lyrics mirror the Russian writing style in the sense that they take paragraphs to convey what other others could say in a sentence. The prologue is a highlight in the way it quickly introduces each primary character and their relationships to one another, repeatedly adding one new character for each round of the song. By the time the prologue finishes, we've heard about Andrey and Natasha on a loop, though the brooding Pierre remains a mystery until the final seconds.

Josh Groban as Pierre is clearly selling the tickets. Though I would have loved to hear his stellar voice more often, it's refreshing to see a major celebrity perform in a show without being the singular star. There was something very folksy about seeing him sit onstage playing the accordion while lesser-known performers stole the spotlight. His "Dust and Ashes," building from delicately pensive to raw and powerful is somewhat of an 11 o'clock number for act I. The majority of his work in act II  is upstage by the erratic Natasha and Anatole, though his duet with Natasha provides an emotional climax in the penultimate song. "The Great Comet of 1812" is another vehicle for Groban's pristine vocals, highlighted by the backing of sweeping choral arrangements.

Denee Benton's Natasha has a strong presence and she's downright effervescent with youthful hope and joy in act I. But when she falls for Anatole, you stop rooting for her. You see that she's shooting herself in the foot and as an observer, feel helpless to stop it. I shifted my allegiances to Sonya (Brittain Ashford) as she tries desperately to stop her friend Natasha from ruining her life in her Lilith Fair-esque solo "Sonya Alone". I felt about Benton's Natasha like I've felt about every Cosette I've ever seen in Les Miz. She has a beautiful voice, but she's not a fully developed character. She allows her entire future to be undone when Anatole (Lucas Steele) bats his eyelashes. Speaking of Steele, this is what it means to be a scene stealer. He verges on pushing his flamboyant Anatole over the top, but he never quite crosses the line. His portrayal stays grounded in the sense that all Anatole is really after is love, but he doesn't yet understand what that means and how his pursuits affect those around him.

Rachel Chavkin's direction is the true star of the show. I am a big fan of scrapping the traditional proscenium staging and Mimi Lien's scenic design completely reimagines the Imperial. With onstage banquets and tables, each seat in the house provides a completely different perspective on the action. If you are unnerved by being approached closely by actors, even in the mezzanine, steer clear of this show. The close proximity of the performers and the club-style design puts the audience in the middle of the party in 19th century Russia. This piece is provocative, so if you don't like your Russian theatre edgy, you should probably walk a block south and see Anastasia.

Sunday in the Park with George

I will preface by saying that Sunday in the Park with George is a very close second behind A Chorus Line on my list of favorite musicals, so you won't get objectivity from me. In my opinion, this is the most perfect score ever written for the musical theatre. The complexity of Stephen Sondheim's work, and the way in which it mimics Seurat's pointillistic style, is a marvel. It is highbrow and cerebral, yet also emotionally resonant and accessible.

I love Annaleigh Ashford, but I was surprised when she was cast as Dot/Marie. She doesn't fit the mold of the women who have played the role in major production. That being said, I found myself actually laughing tonight. This show presents pretty heavy material, but Annaleigh was able to mine out every little nugget of comedy. Conversely, this made her more emotional moments even more heart wrenching. I found her Marie to be more engaging than any of the others I've seen. Her southern drawl peppered act II with sass, which again, made the ballads ever more powerful. Her connection to her mother in the painting during "Children and Art" was palpable.

Jake Gyllenhaal is thoroughly impressive as George. You'll be shocked when you hear him sing. He's not just one of those actors who happens to sing well...he's a Singer with a capital S. His portrayal of the dogs is a highlight as the comedy juxtaposes the seriousness of Act I George. His impeccable diction makes the fast paced numbers,  namely "Color and Light" and "Putting it Together," a dream to listen to.

The supporting cast fills out the painting with standout performances from Erin Davie and Ruthie Ann Miles. This is truly an ensemble show and it's refreshing to see actors, the aforementioned specifically, who have starred in previous shows be able to blend into the chorus, yet deliver a knockout line when the libretto dictates.

I firmly believe that our favorite shows affect us differently at different phases of our lives. We relate to characters differently, a previously ignored song stands out, or a particular scene is revealed to us in a new light. That new moment for me tonight was Dot's speech before "Move On". When she explains what she learned from George, she talks about concentration. When she was younger, she thought it meant standing still and focusing, but now she knows concentration means feeling comfortable where you are, not living in the past or the future. This really stuck me. It's a common sentiment to live in the moment and live for today, but the idea of concentration really gripped me. In a sense, she's admitting that George was never in the wrong in their relationship, but he helped her to grow and change, which helps her to go forward. It's absolutely gutting to think that two people can be right for one another all along, but the timing doesn't work. However, Dot and George don't feel that way in the end. They honor their time together and move forward. I always say that Sunday is the most cathartic closing number in the entire musical theatre canon and George's final spoken sentence really provides closure and hope for the audiences. "White a blank page or canvas, his favorite, so many possibilities."

2017 Nationals Recap

Any discussion of the 2017 Nationals should begin and with Nathan Chen, so to the left he is in all his glory. These were my favorite moments of the championships in no particular order.

1. Parsons/Parsons win Jr. Dance-I watched them win novice dance the first season I really paid attention to the lower levels. I also interviewed them for KidsPost many moons ago so that was a fun memory. They were overshadowed by their training partners in recent years, but I hope they win the Jr. World title and I will be so excited to see those two teams go head to head at the senior level for years to come.

2. Cain/LeDuc win the Pairs Short-I loved how they approached their debut. I remember tweeting that I was attacking my wine like Ashley attacked that triple loop. I loved the attitude and the aggression. They have a look of a team that is ready to make waves. Please stay together!

3. Mirai Nagasu's Short-That look of joy on her face when she nailed the short was priceless. She rotated the triple-triple and 2nd seemed like such a great place for her after her history of meltdowns. If only the short were its own competition...

4. The Shibutanis Short Dance-I was puzzled when the ISU announced Hip-Hop as one of the rhythms this year, but its been such a party all season. I love how dance teams are pushing the boundaries by hiring off-ice choreographers and Hok got these guys to move in a way I've never seen.

5. Nathan Chen-He is consistent and throws it down under pressure in a way we haven't seen with US men since Evan Lysacek. The jumping ability is insane, but he's not one of those jumps-only skaters. He certainly isn't Jason Brown, but he hears the music and shows emotion through his choreography. Let's keep him in a bubble until worlds and then again until the Olympics.

6. Madison Chock's Facial Expressions-I'm almost positive this is in my recap every year. That girl was born for the theatre. She has an expressive face like Patti Lupone...she projects to the mezzanine. I love how she is styled with all the bells and whistles whether it's a crop top, a winged eye, or a double pony. Brava for performance quality!

7. Ashley Wagner's Tweets-She has such a unique voice on twitter and she doesn't give a damn what anyone thinks. I love when she tweets about the fashions of the mens event and tells us who competed against her brother. I also invited myself to her happy hour and she tweeted me back, so I guess that means she obliged despite my being in a different time zone. Today's athletes have such a unique opportunity to interact with fans on twitter and she always brings the A game.

8. The always blunt Frank Carroll-We all expected Gracie and Frank to split, but how it happened threw us for a loop. Frank very respectfully told the media that he and Gracie would no longer be working together. When spending so much time and energy together, it is important to see the results and they simply weren't there. The only problem is that Gracie didn't know she'd been cut loose. Still, the two have been so civil in the media. The white gloves haven't been taken off yet, but we know some juicy gossip is sure to come out soon. I started a rumor that Gracie is going to train with Kori Ade and I hope it happens. She is a nurturing coach and Rohene could bring out Gracie's wild side.

9. The Skating Lesson's interview with Christine & Phil-My first skating memories are circa 1994 so all the Tonya stories brought warmth to my heart, not in a sadistic way but in a nostalgic way. In all seriousness, it was so cool to see them in the same place sharing their knowledge and analysis. I often think of how far skating has fallen since the Kwan years, but when they put it in perspective, we are lucky with the coverage and crowds we get compared to most Olympic sports. And if you can't chuckle about Tonya's "broken" skate laces, of which Phil possesses a piece, then you're taking yourself too seriously.

10. Bitching about NBC and Tara Lipinski-This shout out goes to my twitter family. We love to hate NBC's coverage, even though we are actually grateful to get any primetime coverage these days. However, we do have a right to hate the fluff and repetitive short programs that they show instead of live free skates. This brings me to our favoring Nagano OGM winner. When former athletes become commentators, we want their perspective and we want to hear about their experiences. There is a fine line between sharing your stories and making the event about yourself. Tara crosses it every time. It's one think to scrutinize a skater's jump technique or scoff at their hair, costume, and overall packaging, but telling a skater that "the sport has passed him by" is another thing entirely. This comment about Alexander Johnson was both false and rude. Twitter promptly went after Tara, with yours truly wielding the pitchfork. Clearly Tara doesn't see that despite lacking a quad, Alexander Johnson has more artistry in his hair than she had in her entire career from Little Women to Anastasia.

Spring 2017 Broadway Preview

Y'all know that if there is anything I love in this world it is a great diva turn, and this spring on Broadway we will have a plethora. We have Bette in Hello Dolly, Patti & Christine in War Paint, Glenn in Sunset Boulevard...the list goes on! But who will win that TONY? I'm not going to preview all of the winter and spring offerings, but I am going to highlight a few that really excited me!

Sunset Boulevard
Palace Theatre
Previews begin February 2nd
I always look for the drama in all aspects of life and this show brings it in the form of shade that will be thrown by Patti LuPone from the Nederlander. She famously threw a floor lamp out of her dressing room window when Sir Andrew Lloyd Webber fired her from the London Production in the mid-90s. Thanks to a successful lawsuit, Patti has a beautiful pool in Connecticut. I am looking forward to some star power and screlting from Ms. Close who will not be TONY eligible.

Sunday in the Park with George
Hudson Theatre
Previews begin February 2nd 
I have loved Annaleigh Ashford ever since I saw her buying chips in a 7-11 in Chicago with my mom. She was so sweet to me at the Wicked stage door when I told her that I was at Legally Blonde the day that Laura Bell Bundy's wig fell off during the Bend & Snap. Continuing with the Chicago connection, a few years later on my annual vacation I saw the famous Seurat painting and sat and stared at it for an hour while listening to the cast recording. This is one of the most beautiful scores in Broadway history. I was so upset to have missed it at City Center and I think we are all in for a real treat. This is a limited engagement so get those credit cards out!

Come From Away
Schoenfeld Theatre
Previews begin February 18th
I've heard fabulous things about this show from friends who saw it in DC during the out of town tryout. The subject matter is incredibly intriguing. I'm not going to lie, the casting isn't making me do somersaults, but I'm hoping that the material will knock my socks off.

War Paint
Nederlander Theatre
Previews begin March 7th
Two two-time TONY winners in a musical about makeup mavens...I am so exited for this that I don't even know what to do with myself. I missed the out of town tryout in Chicago by about a week and I was really broken up about. Luckily for me, these broads are coming to the Great White Way. I would die to be involved in this production and get to hear about the drama between Patti and Christine. I am having dreams about the costumes and the makeup. And hello, there is a song called "Pink"...sign me up! Are the Nederlander ceilings high enough for all this Divatude? Who will Antoinette Perry prefer?

The Little Foxes
Samuel J. Friedman Theatre
Previews begin March 29th
Cynthia Nixon and Laura Linney star in a play about greedy Southern Belles. What could be better? To make it more interesting, they will be alternating in the roles of Regina and Birdie. Honestly, when you're as talented as these two, you need a challenge.

Hello Dolly!
Shubert Theatre
Previews begin March 15th
This is so exciting there's an exclamation point in the title. Bette Midler hasn't done a musical on Broadway in 700 years and this is the moment Kweens have been waiting for. I'm going to be completely honest and tell you that I don't really even like this show, but I would see Bette in a musical about coal miners...end of story.

Win FREE Tickets to the New Musical, The Last Word

 

We have officially reached one of our favorite times of year, the New York Musical Festival. The Last Word tells the story of Jay, a young man who lives above the Indian restaurant his dad left for him. He enlists a group of friends to help him hold onto the restaurant, but will it be enough? Read a full synopsis here http://www.thelastwordmusical.com/synopsis.

This new piece stars Felicia Finley, Jessica Jain, Travis Kent, Nathan Lucrezio, MJ Rodriguez, and Philip Jackson Smith. Michael Bello directs this show with a book, music, and lyrics by Brett Sullivan at The Duke on 42nd Street.

Nathan Lucrezio stars as Jay. In which Broadway show has he most recently appeared? Reply in the comments section below with your answer and an email address so I can contact the winner. The contest closes Thursday night at midnight. Good luck!

Ivo Van Hove's THE CRUCIBLE

After seeing Ivo Van Hove's fast paced, streamlined revival of A View From the Bridge, I was so intrigued to see what he would do with Arthur Miller's most famous play, The Crucible. Unfortunately, I left the Walter Kerr theatre with more questions than answers. They were not robust, existential questions about life's truths or human nature. These were literal questions about directorial intent. What time period are we in? Why is the pacing so laborious? Why is that chalkboard still on stage? Who is using those desks?

The opening scene is a classroom full of young girls in a classroom staring at a chalkboard. The color scheme is dull and gray. This moment is but a glimpse as the curtain quickly falls and rises again on a drastically different scene. This glimpse motif repeats itself throughout both acts and is the one shred of urgency in the entire production. The rest of the piece drags like a funeral dirge. I won't bore you with a summary as we all know the plot, but I'd be lying if I didn't tell you that I checked my watch more than I ever have during a show. I did see the piece early in the preview period, so I will try to be kind and assume that the pace will quicken by opening, but this piece is built on drama and suspense, both of which need a sense of urgency to unfold.

Philip Glass provides the score which aims to create a mood of suspense and even anxiety. It is mostly effective in meeting this goal, though the relentless wall of sound does distract from the text at times. Jan Versweyveld nails the ominous feeling of the piece with the mysterious stark lighting that highlights the cold, gray feeling of the sets, which he also designed. The focal point of the set is a chalkboard which works in the classroom and court room, but feels out of place in the Proctor home. Ditto for the desks and chairs. Wojciech Dziedzic's costumes represent curious choices that tie back to Van Hove's unclear (or unclearly articulated) vision. It is so difficult to tell what time period we are in. The Salem Witch Trials took lace in the late 1600s and the costumes are much more modern. They are not present day either, but rather somewhere in between. A modernized production would've been a remarkably intriguing concept, given recent political discussions over feminism, religion, and government power, but the performances are clearly period. The dialect and diction transport the audience to the past, while clearly modern props like coffee carafes place us in the present. It is quite jarring as an audience member and it made it extremely difficult for me to immerse myself in the world of the performances because I didn't know when or where that world was. If this was Van Hove's intention, then I commend his vision, but unfortunately it was hard for me to invest.

Though Saoirse Ronan is selling the tickets, her performance is not the standout. There is nothing inherently likable about her Abigail, who is more of a devious instigator than a sympathetic victim. As far as the ensemble of young girls is concerned, Tavi Gevinson's portrayal of Mary Warren is much more memorable. She is a vulnerable young girl who is clearly confused about her allegiances and that internal struggle shows in her nuanced characterization. Ben Whishaw and Sophie Okonedo carry the emotional heft of the show as John and Elizabeth Proctor, respectively. They are a hard-working couple maligned by ghosts from their past. They are the ultimate tragic tale. Every attempt they make to prove their innocence pushes them further down the rabbit hole. They are faced with one of life's ultimate conundrums. Lies or truth? If they tell the truth that they have not engaged in witchcraft, they will be executed. If they lie and say they have engaged, their lives will be spared, but they will have to one day meet their maker knowing they've committed a grave sin. Whishaw plays out this question with such reckless abandon that I felt as if I was on his back as he desperately flailed about the stage in search of answers. His work is visceral, animalistic, and even maniacal as he seeks absolution.  This final scene was the only moment in the show that truly gripped me emotionally. It left me asking myself how high of a price I would pay to tell the truth and clear my name. This is what I call a "Miller Moment" where the beauty and purity of the text were able to shine through, unencumbered by Ivo Van Hove's confusing direction. I left the theatre largely disappointed, expecting the brilliance of A View from the Bridge to repeat itself, but this new-concept Crucible lacked clarity and cohesion.

BRIGHT STAR on Broadway

Simply put, Bright Star can be described as Broadway meets Bluegrass. The plot of this musical by Edie Brickell and Steve Martin could easily be a Nicholas Sparks novel, but the music is far more unique. Brickell and Martin capture the heart of the American South in a way that pays nuanced tribute to North Carolina nostalgia. They treat the South with loving care. As someone who grew up on country music, these are songs that would be more capably performed by Alison Krauss than your typical Broadway beltress.

The show begins when Billy Cane (AJ Shively) returns home from the second World War to his backwoodsy North Carolina town. He learns his mother has died and laments her passing, but quickly moves on. He dreams of following his own Bright Star, which is to become a published writer. With the encouragement of his childhood friend Margo Crawford (Hannah Elless) he moves to Asheville in hopes of writing for the Asheville Southern Journal. He soon meets Alice Murphy (Carmen Cusack,) the Journal’s stern editor. She quickly tosses Billy to the curb, but in a moment of fleeting weakness, she gives him a second chance. We are quickly transported back to the 1920s when Alice is a free-spirited teenager in love with Jimmy Ray Dobbs (Paul Alexander Nolan). Alice comes from a working class family, but Jimmy Ray’s father has bigger hopes for his son. When Alice becomes pregnant, Josiah Dobbs (Michael Mulheren) does what he deems necessary to protect his son and ultimately takes Alice’s baby from her, disposing of him off the back of the train. As is the case with all great musicals, things work out for everyone. Alice and Jimmy Ray find one another decades later and fall in love again. Billy becomes a published writer and marries Margo. Oh, and I forgot one small detail…Alice’s baby didn’t die. He was rescued like Moses in a basket by a farmer and his wife; they named him Billy Cane.

If you think I threw that plot twist at you nonchalantly, then you and the show’s audience are in the same boat. The double-timeline structure is a tricky one for an audience to follow, but we will stick with you through the never-ending rising action if the payoff is sweet enough. In this case, the climax was over and done with faster than you could say Yee Haw! Billy invites Alice to visit his family home, she sees the baby sweater she knitted in a box of his old things, they realize they share blood, and they move on happily ever after. Where is Billy’s anger over being lied to by his father? Where is his confusion over which family he should feel allegiance to? Where is his father’s guilt over lying to his son or never helping him to find his birth family? The double timeline and the North Carolina setting do conjure images of a Nicholas Sparks novel, but the questions that are left unanswered and the lack of emotional catharsis are more reminiscent of a lifetime movie.

Though the structure and pacing of the book have serious flaws, the dialogue itself is sharp, witty, and dripping with appropriate southern colloquialisms. The score, both homey and evocative, is hands down the best I’ve heard in show that uses the country vernacular. Walter Bobbie’s direction is as swift and seamless as the clunky book will allow, using stylized movement rather than codified dance to express the melodies and transition between timelines and scenes. Carmen Cusack’s Broadway debut has been a long time coming, but talk about waiting for the perfect role! I have never seen an actress play two distinct ages so convincingly. You believe her when she’s 17 and when she’s 40. For fans of Designing Women, Cusack’s 1940s Alice is a dead ringer for Julia Sugarbaker. She has the musical theatre chops to “act the songs” and develop the character, but in my book nailing this role comes down to that country spirit and she exudes it. Patsy Cline and Dolly Parton would be proud. After having seen this show nearly two weeks ago, Cusack’s performance and the score are two of the three things that have stuck with me. The final thing is one of the most memorable lines I’ve ever heard in a musical: “It would be easier to remove Lincoln’s face from Mt. Rushmore than to remove home from the heart of a Southern Writer.” This motif carries this show, and while it may not sell hundreds of thousands of tickets to a Broadway audience, the sentiment will mean the world to those who get it.

The Color Purple is a Religious Experience!

Two Sundays ago, I went to church twice: Once at Fifth Avenue Presbyterian, and again at the Jacobs Theatre. This phrase is often used liberally, but John Doyle's revival of The Color Purple is unequivocally a religious experience. I'm not one to preach, but the Holy Spirit was in that place. From the opening chorus number, "Mysterious Ways," it is evident that this company can saang! John Doyle has done it again. He has taken a show that was clunky in it's first incarnation, stripped away everything but the necessities, and presented a production that is emotionally charged in it's simplicity. The set is a simple wooden floor and a tri-section back wall with simple wooden chairs that can be moved by the cast. Immediately, the audience understands the setting: a small Southern farm town with caring people and a simple way of life.

The Color Purple is a beloved American story that we all know so I won't bore you with a summary. Let's jump to the performances, shall we? A highlight for me is anything involving the church ladies. If you grew up in church like I did, you'll know that is where you find some of the biggest gossips. But they mean well of course, even as they speculate about poor child Celie, that fine Mister, Sofia, and Harpo. Jennifer Hudson is selling the tickets, but in the role of Shug Avery, she is not the biggest powerhouse in the show. Her characterization of Shug is aloof and disconnected at first, but her heart shines through as she connects emotionally to Celie in "Too Beautiful For Words." She also carries the title song, my personal favorite. Danielle Brooks, whom I love in Orange is the New Black, left me utterly shocked. Her Sofia is not the tough, battered woman from the novel, but a diva who steals the show. When she takes the stage in "Hell No" you'll see what I'm talking about. It's Danielle/Sofia's world and we're just living in it. She has Harpo (Kyle Scatliffe) wrapped around her little finger and their relationship becomes a model for how to be a real man and treat a woman with respect. I won't give away the details but "Any Little Thing" is showstopper.

This brings us Ms. Cynthia Erivo. She is giving the female performance of the season. Her transformation from a meek, abused woman to a confidant, take-charge, entrepreneur is a master class in character work. Celie's changes are subtle until she curses Mister, and that is when she is reborn. When Ms. Erivo saunters onto the stage in her homemade lemon yellow pants, you would think you were watching Tina Turner. I don't intend to sound hyperbolic; that is just the confidence she exudes. I've never quite seen a eleven o'clock number as powerful a "I'm Here" except for maybe "Rose's Turn". Cynthia's interpretation of the song is quite reflective in the beginning, that is until the bridge. It builds, and it builds, and it builds until the audience is on their feet before the final exclamation. If you read my reviews often, you'll know that I'm a big cryer, especially in musicals. But this was something different. I had goosebumps of the variety that I've only ever gotten during particularly rousing renditions of church hymns or Whitney Houston's "The Star Spangled Banner." If you do not see Cynthia Erivo in this role, you will have missed one of the greatest female performances of all time. Think LuPone in Gypsy, McDonald in Porgy and Bess, and Ripley in Next to Normal....she's that good.

To put it simply, this a story of forgiveness. The show and it's source material carry numerous themes, but at the heart, this work teaches us not only how to forgive, but it also shows us how much lighter our load in life can be when we forgive those who trespass against us. My favorite lyric comes from the title track...."Like the Color Purple, where do it come from? Now my eyes are open, look what God has done." Enough said. The only thing that could've made the performance better is if the cast performed an encore of "Amazing Grace" or "How Great Thou Art". But then again, how would the Jacobs operate without its roof?

She Loves Me Leaves Me Smitten!

She Loves Me is a story of sworn enemies turned lovers that is so sugary sweet it might give you a cavity. But when we attend the theatre, we are asked to suspend disbelief, and after twenty minutes or so you'll be swept into the charming little world of 1930s Budapest and you'll deal with the sugar hangover tomorrow. It's this season's version of On The Twentieth Century, another classic show long overdue for a revival and was also produced by Roundabout Theatre Company. In this, their 50th season, they've brought together Laura Benanti, Zachary Levi, Gavin Creel, Byron Jennings, Michael McGrath, and Jane Krakowski in this Bock and Harnick classic with Scott Ellis at the helm.

The above mentioned players work in Mr. Maraczek's (Byron Jennings) Parfumerie and things are running exactly as planned until Amalia (Laura Benanti) arrives. This charismatic salesgirls butts heads with head clerk Georg (Zachary Levi) from the moment she arrives. Little do they know, they have something very important in common. They've been writing to one another anonymously under the pseudonym "Dear Friend." While they've been hating each other in person, they've been falling in love on the page, and as we've learned from every romantic comedy, love always wins.

Highlights include Benanti's vocally virtuosic "Vanilla Ice Cream," Levi's exuberant "She Loves Me," an astutely choreographed hurricane of actors and props in "Twelve Days to Christmas," and the melodramatic "Ilona" featuring a crooning Creel and a Krakowski crash split. Speaking of Ms. Krakowski, she was born to play the comedic characters in these classic musicals and she absolutely shines in this production. If we could go back in time, I would give anything to see her take on Ado Annie or Carrie Pipperidge.

In addition to outstanding performances, David Rockwell's' set is a star. Forced perspective creates the illusion of a real Budpest street and the opening and closing of Maraczek's Parfumerie is like that of a supersized dollhouse. Appropriate words to describe Rockwell's designs as well as Ellis' staging are 'charming' and 'delightful'. This show is a welcome addition to Studio 54 and anytime we can see such a stellar cast performing the work of one of history's best composing teams, we should all be happy.

THE WOODSMAN

At first glance, The Woodsman seems to be yet another spin-off in America's obsession with The Wizard of Oz. When you're deciding which shows to see this season, you may be tempted to swipe left on this one, but that wouldn't be right. What could have been an ordinary prequel is actually an aesthetically rich piece of art that completely reimagines a land of Oz that is heavy on impulse and light on text. In fact, Nick Chopper's opening monologue that provides context within the Oz canon is the only significant chunk of dialogue in the entire piece. The rest is left to puppetry, stylized movement, and vocalization. The skill exhibited by the performers is quite fascinating as you believe the puppets are alive without much suspension of disbelief. Directors James Ortiz & Claire Karpen create a full sensory experience. It is visceral.

Speaking of Nick Chopper, the role is played by James Ortiz who wears many hats in this production at New World Stages. He is the writer, puppet designer, set designer, co-director, and lead actor. Eliza Martin Simpson plays the other significant role of Nimmee, his eventual love interest who has spent her life under the control of the Wicked Witch of the East. Nick, of course becomes who we know as the Tin Man after the witch enchants his axe and directs it to chop off his limbs. Wicked gave us one theory of the Tin Man's origin: The Wicked Witch of the East was so angry when she was scorned by Boq that she removed his heart and Elphaba turned him to tin out of pity. As far as magic is concerned, Ortiz' interpretation of L. Frank Baum provides a much more plausible explanation. The Witch of the East craved her control over Nimmee so much that she destroyed her lover to get her back. The penultimate scene in the piece is one of despair as we see Nick Chopper (in tin puppet form) alone, propped up by wires. The only glimmer of hope is the final scene where we see three symbols that are as ingrained in American culture as Betsy Ross's flag: a farm house, a pigtailed girl, and a pair of slippers. You know the rest.

HAMILTON: From the Public to the Rodgers

When I was lucky enough to win the TodayTix lottery to Hamilton at the Public Theatre last February, I had no idea what I was about to experience. In my entire theatre-going life, I've never experienced such a phenomenon. It seemed like every week there were more and more celebrities in attendance and the show just kept extending its run. When the producers announced that they were moving uptown to The Richard Rodgers, I had mixed feelings. This was such a perfect theatrical experience in the intimate Public Theatre, that I feared it would lose its energy in the bigger space. But regardless, I was so happy that I could say, "I saw Hamilton before you even knew what it was." I scoffed when it became part of the mainstream media and normal conversation, asking myself, "is it really that great?" I purchased the cast recording in September and after one listen, I had my answer. "Yes it is".

As an English teacher and a writer myself, I am enamored with Lin's use of language. It is incredibly complex and layered, yet simplistic enough to move the story forward. When I first saw the show downtown I was focusing so hard on the lyrics and got the gist of it, but when I began to listen to the cast recording on repeat, I understood the intricacies of his verbiage. Each time I revisit a song, I pick up on a new phrase that speaks to me. My personal favorite, from the song Burn, is "you have married an Icarus, he has flown too close to the sun". Lin's references to history, mythology, and other works of literature are inspired. My head spins when I consider the amount of time, research, and energy that he poured into this piece. But enough about my obsession with the cast recording....let's fast forward to this past Saturday morning when I checked my email to find that I'd won the lottery yet again. I was skeptical. Would it ruin the perfect experience that I'd had last year at the Public? As I sat front row center at the Richard Rodgers and listened to the opening drumbeats, my question was answered with a resounding NO! 

I know every single word of every song, so not having to concentrate on the lyrics and plot freed me to look at the bigger picture. I saw aspects of the staging, particularly the choreography, that I completely missed the first time. Andy Blankenbuehler's use of postmodern movement seamlessly conveyed the production's overall goal of telling a historical story through a modern lens. I am a dancer myself, and I love that there were so few moments where I could name the movements. Sure, there was an arabesque here and a penche there, but most of the movement was completely unique. While this is largely the same production I saw downtown, the layers were so much more apparent to me. The minimalist set, a tavern setting with a turntable, allows the the text and acting to shine through. Thomas Kail's staging accentuates the material without distracting from it. This show is so special and unlike anything we have ever seen on Broadway.

Daveed Diggs (Lafayette/Jefferson) my second favorite actor in the show was not performing last Saturday and I greatly missed his rapid fire pace as Lafayette the tongue-in-cheek quality with which he imbues his Jefferson. His understudy was fine, but he didn't have Diggs' twinkle in his eye. My number one guy, however, is Leslie Odom Jr. and his performance grabbed me so much more than it did downtown. Don't get me wrong, I loved him downtown, but he has certainly grown into the role. I have seen many a show in my day and I have never seen so much passion in one performance. He had a fire in his eyes that you would normally expect from an opening night performance, not a random Saturday in February. I saw his Aaron Burr more as a narrator this time. Though it is Hamilton's story, Burr is telling it. The songs that reprise the opening theme are a perfect example of this. "How does a bastard, orphan, son of a whore," "Watch this obnoxious, arrogant, loud-mouthed bother, be seated at the right hand of the father" "How does a rag-tag volunteer army in need of a shower, somehow defeat a global superpower" and "How does Hamilton the short-tempered protean creator of the Coast Guard," etc. Clearly, The Room Where it Happens is a straight up showstopper and a huge highlight, but when he sings "now I'm the villain in your history" he truly had my sympathy. Yes, he killed Hamilton, but when you consider everything Hamilton achieved before Burr even became a senator, you can understand why he felt so much resentment. If someone was constantly steps ahead of you for your entire career, how would you handle it?

What strikes me is that it is so commercially successful, but before it was popular it was extremely well written and artistic. It is rare that these combine in a musical. It is more common that you have saccharine shows like Mamma Mia that runs for a decade juxtaposed with beautifully cerebral shows like Sunday in the Park with George that absolutely flop. Hamilton has shown the next generation of composers that you can write something intelligent with artistic merit and still sell tickets. I only hope that this is a gateway to a new generation of musical. 

Musical Mondays: VANITIES

I'm embarking on a new journey called Musical Mondays. I want to spotlight some of my favorite musicals: old, new, popular, unsuccessful, hits, flops, and everything in between. These will not simply be my favorites shows, but more specifically the shows that were personally meaningful to me at one point in my life or currently. Come back every Monday to learn about another show that is near and dear to my heart!

I saw Vanities when it ran Off-Broadway at Second Stage in in the summer of 2009. It was supposed to transfer to Broadway, but it wasn't to be. Vanities a three-person show performed in three acts without an intermission. The story spanned several decades of the friends' lives from a Texas High School to an Upper East Side apartment. Kathy (Anneliese Van der Pol) Mary (Lauren Kennedy) and Joanne (Sarah Stiles) grew up together as cheerleaders and sorority sisters, but they went their separate ways after graduation. This show, with music and lyrics by David Kirshenbaum, is based on Jack Heifner's play of the same name which was wildly successful in the 1970s.

I was enamored with this show when I first saw it as a college Junior, but it's really stuck with me and I've been drawn to different parts of the show at different times in my life. I immediately connected with Kathy, the organized one, who plans every single aspect of her life down to the last second. She firmly believes that if she plans everything she can keep her life under control, and I can certainly relate. She leads the other characters on the cheerleading squad, as the head of the school dance committee, and later as members of Kappa Kappa Gamma. Her mantra is "Take care of little things, you'll have an organized life," while Joanne and Mary prefer to "let life happen, relax, and that is the key." The characters remain basically unchanged from high school (1963) to college graduation (1968) but the third act is where we see the changes.

As I said earlier, I was a Kathy through and through in high school and in college. I lived by my Lilly Pulitzer dayplanner and my to do list, but then something funny happened after I graduated college. I looked around and nothing worked out as I had planned. This is where we find Kathy at the beginning of act three. It is 1974 and the once inseparable friends have reunited on Kathy's Upper East Side terrace after half a decade. We learn that Joanne, who has always dreamed of having a family is happily married with several children, or so it seems. Mary, who creates erotic installation artwork, blows up this fantasy when she reveals that she's been having an affair with Joanne' husband Ted. But even though their lives are falling apart, they rely on Kathy to have it all together. Much to their surprise, she has lost her job, and "spent a couple of years hanging out at every singles bar, and every therapy group on the east side." She then became so depressed and she couldn't leave her house. Her friends are shocked that her life didn't go according to plan. The rest is in the lyrics:

I sat around all day, without the slightest clue,
It shouldn't sound so sad, it's what I had to do,
'Cause I had worked so long, and I had tried so hard,
And I was so demanding, I was so relentless,
Always in control, and never letting down my guard,
And if that's how you organize your existence, you have an organized nervous breakdown,
You get strung out and neurotic, messed in the head,
That's what you tried to tell me way back in college, call it a bitterly hard-won knowledge,
But there's something to be said for simply living your life.

As someone who always joked that I would plan my own nervous breakdown, these lyrics hit me like a ton of bricks in my post-collegiate life when things didn't go even remotely as planned. They made me cry, they made me have full on breakdowns in my shower, but then they guided me forward, reminding me to stop trying to plan everything and just live! I loved this show so much and I wish that more people had gotten to see it. It's probably too small for Broadway, but I hope that it has life in regional theatre because so many young women could benefit from these characters and these lyrics. If it's playing in your area, go see it--you won't regret it! 

ON YOUR FEET Cha-Chas on Broadway

I was fortunate enough to win lottery tickets to On Your Feet last Wednesday night and I was certainly not disappointed. If I had to describe this show in one word...ENERGY! From the musicians to the dancers to the scene-change-ography and the fierce abuela, the Marquis Theatre is on fire! Jerry Mitchell squeezes every ounce of excitement out of the Estefans' music and Sergio Trujillo mirrors that with the spicy choreography.

Structurally, the show employs flashback to show Gloria's childhood and very tiny glimpses of Emilio's. Both came from Cuban families who immigrated to Miami in search of a better life. One of the most powerful moments in the story happens when Emilio fights with a record producer who is trying to screw him over and he replies by saying "I pay my taxes and take a very good look at my face because this is what an American looks like." This show is the story of immigrants who have fought for every ounce of respect they ever earned in the music business and keep fighting throughout their lives. The emotional climax of the show comes when the Estefans' bus is in an accident and Gloria comes within an inch of paralysis. She uses her fans' well wishes to propel her through physical therapy, culminating in a comeback performance a the American Music Awards. Ana Villafane is fantastic as Gloria and Josh Segarra is equally effective as Emilio. Alma Cuervo's Consuelo, Gloria's Abuela, is the highlight acting performance in the show. She may not have a huge amount of stage time, but when she is onstage, she packs a punch. She also has a major role in the show's turning point, by encouraging Gloria to sing with Miami Sound Machine (then Miami Latin Voice) even when her mother discouraged her. Speaking of which, Andra Burns plays Gloria's mother, also named Gloria, in a beautifully layered way. She is a fierce, strong woman who has done everything she can for her family and is extremely protective, even at the expense of sacrificing her own dreams. She is very stern and emotionally closed off, especially toward Emilio, until Gloria's accident when she realizes how much she has missed by pushing the family away.

This piece uses the same template that Beautiful used with Carole King's music and it has become a huge hit. This show is equally effective in telling the story of the Estefans through their music, but I wonder if these songs are as appealing to a New York audience as King's. The Marquis theatre has also been known to eat shows, in fact I cannot remember the last time it produced a hit. I did love this show though, and it's an extremely entertaining night at the theatre. If you love Conga, 123, On Your Feet, Turn the Beat Around, and my personal favorite, Reach, I highly recommend this. If nothing else, you'll cha-cha out of the theatre with a song in your heart.

Spring Broadway Preview

The 2015-2016 Broadway season is fully underway! Hamilton has risen to stratospheric levels of success, Jennifer Hudson has The Color Purple selling like hot cakes, Noises Off has already extended, On Your Feet has audiences cha-cha-ing home nightly, and my personal favorite, Allegiance, is sadly closing next week. But, on with the show!



While I'd love to see everything, this teacher's salary won't allow it so these shows are on my "MUST SEE" list!

She Loves Me
Opens: March 17th
Laura Benanti is one of my guiding stars, so obviously I already have tickets, but Jane Krakowski's sass has also gotten me through many a tough day. What could be better than these two broads singing Bock & Harnick? Plus, I used to do "Vanilla Ice Cream" with my fabulous voice teacher..done and DONE!

Bright Star
Opens: March 24th
I must admit, I hadn't heard much buzz about this show until a good family friend saw it at The Kennedy Center. I luckily already have tickets to this one as well and I hope it's such a big deal! I too grew up near the Blue Ridge Mountains and I hope this is just as folksy as all get out.

The Crucible
Opens: April 7th
I am the newest convert to Ivo Van Hove after seeing his phenomenal direction in A View From the Bridge. I am fascinated by this Arthur Miller series that he is doing and I like The Crucible even more that the former. It takes a lot for me to rank a play above a musical and Ivo Van Hove is the singular reason I will be skipping Tuck Everlasting until later this summer.

American Psycho 
Opens: April 20th
So I'm going to be perfectly honest and tell you that Alice Ripley was the first musical theatre star that I stalked. I was one of the proud Stage Door Jennies at Next To Normal who was able to facebook friend her before she maxed out and Zuckerberg gave her the heave-ho. Please forgive me, I was interning at Dance Magazine that summer. Anywho, I digress. Duncan Sheik is a brilliant songwriter and this production has assembled the perfect cast of crazy in Lady Ripley, the former Mr. Mamie Gummer, Benjamin Walker, and Spider-Man survivor Jennifer Damiano. (P.S remember in SMASH when Meg Hilty said, of Liaisons, "they are auditioning real names like Jen Damiano"). This is a must see. It may run forever or close after 1 performance, but Madame Ripley will make it memorable.

Waitress
Opens: April 24th
I didn't know what this Jessie Mueller character was all about and then my dear friend Sarah Jones VanFossen had me obsessed with Beautiful. I fell in love with Jessie and I am so happy she is coming back to us. Allegedly, Ms. Bareilles has written one of the best musical theatre scores in years, but I'm refusing to listen to it until I can experience it live onstage. Plus, I love Keala Settle because she tweets with me sometimes!

Long Day's Journey Into Night
Opens: April 27th
Jessica Lange.......enough said. But also, John Gallagher Jr......I will stop talking now.

Shuffle Along, or, The Making of the Musical Sensation of 1921 and all that Followed 
Opens: April 28th
Please see this show if you want to see Audra McDonald her 87,345th TONY....and TAP DANCE! Just let me name drop for a second.....Diva McDonald, Brian Stokes Mitchell, even though he blew off my friend Pam at the Women on the Verge stage door on the way to the BK Whopper Bar, Billy Porter, Brandon Victor Dixon, and Joshua (my Violet crush) Henry. This show could be about teamsters tapping the morse code and I would still see it. Also....Savion frickin Glover! Mic drop...Barbie out!