A Passing Feeling for My Fair Lady

Am I getting jaded or are things not aging well? Maybe both?

Photo by © Joan Marcus

If you were to ask people to name the first thing that comes to mind when you say the word musical, one of the first is likely to be My Fair Lady. Its vaunted pedigree, from the book adapted from George Bernard Shaw's Pygmalion, to the original Broadway performances starring Rex Harrsion and the one and only Julie Andrews, to the film starring an effervescent Audrey Heburn (bolstered by Marnie Nixon's stunning vocalizations), is about as elite as a musical's could be and well beloved by fans all over the world.

Photo by © Joan Marcus

I, like I suspect of many readers, was raised watching and loving the movie version of My Fair Lady. I knew every word by my early teens and dreamed of playing Eliza Doolittle someday.

Photo by © Joan Marcus

The current tour at the Orpheum is an admirable rendition of this beloved show (I won't bother recapping the plot as I assume it's quite familiar to most readers - if you really need a synopsis, click here). Laird Mackintosh is horrifically (but appropriately) conceited as Professor Henry Higgins; I cannot comment on Kevin Pariseau's rendition of Higgins' kindly counterpart Colonel Pickering, as he was sick the night we attended, but his substitute was warmly enjoyable in the role. Shereen Ahmed's nimble voice trills through Eliza's plight as Higgins' dusty but determined plaything, and I respected that she kept up a good fight throughout her role. Sam Simahk is sparklingly silly as Freddy Eysford-Hill, and Adam Grupper clearly relishes the role of scoundrely Alfred P. Doolittle. The ensemble cast is quite strong and are fun to watch swanning around the gilt stage in their elaborate costumes.

Photo by © Joan Marcus

I was quite dazzled by the vastness of the set design, which includes endless (but quickly moving) painted backdrops and scrims. The focus, however, lay on a deliciously detailed, rotating 360 degree view of Higgins' home, a truly remarkable feat of scenic design that is flexibly and versatilely used. I was really impressed at how seamlessly this piece moved in and out and the variety of experiences created with just the one element; it had to have been mind-bogglingly expensive to build and I have zero clue how they move that thing weekly between faraway cities, but damn it's impressive. The costumes are likewise delightfully luxe and period-appropriate, and production design junkies overall will find endless amounts of eye candy to enjoy throughout this staging.

Photo by © Joan Marcus

All that said, it surprised me when, sitting through this very well-produced tour of a classic musical that I was raised to love, things just didn't hit quite right. In the era of #metoo, revitalized women's movements, and the all-too-prevalent sexism hitting our female changemakers on all fronts (R.I.P. Elizabeth Warren's devastatingly impressive presidential campaign), I just couldn't find a way to enjoy this show. Higgins' allegedly comedic insults came off as screeching misogyny; Eliza's ignored protestations rang a little too similarly to domestic abuse; and Higgins' mild comeuppance towards the end just couldn't satisfy the thorough thrashing I wanted him to get.

Photo by © Joan Marcus

Please note, dear reader, that I fully realize that all of the above impressions are thoroughly subjective and are my own opinion. The audience laughed right on cue and seemed to have a dapper time watching this show, and I suspect that any other long-term fans will equally adore this well-produced version. It's got everything that Broadway-lovers seek, and the production design is truly gorgeous and special. This post is not a screed against the show or a treatise on why you shouldn't attend.

Photo by © Joan Marcus

This review is, simply, my confession: I have a severe case of sexism fatigue, and My Fair Lady triggered right into it. This is a beautiful production and please go if you enjoy My Fair Lady, or if you've never seen it and want to experience a well-made version. You'll get your money's worth. The magic was just gone for me this time around, and I'm left mourning the days when it was easy for me to slip into a theater and shut my filter off. The world has changed around many of these classic old shows, and it's just harder and harder for me to watch them simply as fictional stage plays without my modern gaze.

Photo by © Joan Marcus

If you want to get tickets to My Fair Lady go quick - it's only open through this weekend. Click on this link to order them.

Photo by © Joan Marcus

The Band's Visit Is A Quiet Masterpiece

This is the one. The one I've been waiting for. 

Photo by Matthew Murphy

I can't describe to you how incredibly excited I was to see The Band's Visit last night. I was hooked ever since seeing Katrina Lenk's magnificent performance of "Omar Sharif" at the 2018 Tony Awards (the same night she won best performance by a leading actress in a musical). I wasn't able to see a performance with the original cast in New York City, so I was thrilled to find it coming to Minneapolis as part of the Broadway tours through Hennepin Theater Trust.

Photo by Matthew Murphy

The Band's Visit is quite simple on the surface, telling the story of a small group of Egyptian musicians who get lost on their way to perform for the opening of a new Arab Cultural Center in Israel due to a mix-up of the name of the town they are to visit (they end up in Bet Hatikva, rather than Petah Tikvah). The troupe is stranded with little money and taken in by a cafe owner named Dina, who feeds them and finds homestays for them to pass the night until the next bus to Petah Tikvah will run. Dina immediately connects with the conductor Tewfiq and contemplates a romantic relationship with him as she later gives him a tour of Bet Hatikva, a dream that seems to flourish until withering as she learns his sad past. Haled, a younger member of the band, sneaks out to enjoy a night on the town and ends up counseling a shy young man named Papi in the art of flirting. Simon, an older musician, witnesses a fight and difficult relationship between the husband and wife he is staying with. His music provides a sense of peace to them as they resolve their fight. A boy waits endlessly by a payphone for his girlfriend to call. Much like the nearby sea, life ebbs and flows in Bet Hatikva until the night ends, the band boards their bus to Petah Tikvah, and Dina's life returns to the everyday cycles it always endured.

Photo by Matthew Murphy

There has been a lot of hype about this show (it did win 10 Tony Awards, after all) and I wasn't disappointed. The success of The Band's Visit begins and ends with Chilina Kennedy who is magnificent as Dina. Kennedy has a dynamic voice and sexy, lithe presence that does complete justice to this complex character. James Rana was quietly lovely as the shy and tortured Tewfiq, and his understated performance added real power to this role. Joe Joseph blessed us with a gorgeous voice as Haled, and his smooth stylings provided welcome comedic moments and some beautiful romantic ballads. The musical standout of the show for me may have been Mike Cefalo's unexpected star as the young Telephone Guy, with a haunting solo that rose admirably into chorus to close out the show with "Answer Me." I also have to shout out the crew of silent musicians who played their instruments live on stage in various formations. They were spot-on and added a rich additional layer of perspective to the staging, almost like an extra group of friends to watch with, that I thoroughly enjoyed.

Photo by Matthew Murphy

The clever set is, like the show, much more than it first appears. Seemingly a drab collection of sandy colored buildings, each structure unfolds into varying levels of depth to provide totally new settings (for example, flip open a wall and an alleyway is suddenly a roller skating club). A turntable stage cleverly allows for dynamic choreography and scene changes, quickly transitioning us through locations and plotlines. Several well-chosen projections are also included, almost creating dreamscapes as characters describe their inner desires, and I appreciated the mystical affect they offered.

Photo by Matthew Murphy

We live in a noisy world. A disjointed world. A hurting world. A world in chaos. The success of a show like The Band's Visit, an uncomfortably quiet, emotionally haunting, darkly comedic, 90 minute meditation on finding beauty through life's hardest moments in one of the most conflict-ridden areas of the earth, is hardly assured. And yet... I couldn't help thinking in the dark theater, sitting in communion with my fellow arts lovers as the stunning strings of "Omar Sharif" wafted through the air like the most precious incense and Chilina Kennedy gracefully wended like altar smoke around the moonlit stage, that maybe The Band's Visit is exactly what such a world needs.

Photo by Matthew Murphy

This is a production that defies all attempts to classify itself into dichotomies, staying firmly put in the much messier, harder but truer, world of the liminal. There is no good or bad, villain or hero, right or wrong. Actions taken with good intentions have devastating consequences, just as actions that might be classified as bad or immoral provide some of the only moments of happiness these characters experience. I found it a moving, vital salve to the extreme noise that confronts me every time I look at my newsfeeds. Sometimes the best thing we can do for ourselves is to turn off the noise, listen to the sounds around us, and silently conduct our bodies into harmony with the natural world, weeping hearts and all. The Band's Visit is a lovely, wistful balm for what ails us all these days and highly worth a visit. Click here for more information or to buy your tickets before it leaves town on December 15.

Photo by Matthew Murphy

Phantom of the Opera Remains a Hit

Which of the old grand dame musicals is your favorite? 

Photo by Matthew Murphy

I'm thinking the tours that never seem to die - Lion King, Les Miserables, Beauty and the Beast, basically anything Andrew Lloyd Webber has ever made - and return time and again to our historic stages. Is there one you just can't seem to help returning to?

Photo by Matthew Murphy

Mine has to be the Phantom of the Opera. The transcendent original Broadway recording starring Michael Crawford and Sarah Brightman was one of the first three CDs I ever owned on my own, and I wore that thing out playing it on repeat and pretending to be Christine Daae.

Photo by Matthew Murphy

That's probably the reason I've now seen the touring production so many times. It also doesn't hurt that despite my nostalgia, the 25th anniversary production as redesigned by Cameron Mackintosh is a gorgeous representation of the best Broadway has to offer with powerful musicians and stunning, exquisitely detailed sets and costumes.

Photo by Matthew Murphy

I won't waste anyone's time re-hashing the plot or production design - see my post about this current tour from two years ago (click here) which still stands, or the original (click here) for that detail. What I will do is update a few of the newer castings and let you decide how many times you should see this theatrical classic.

Photo by Matthew Murphy

Derrick Davis returns in the role of the Phantom, and he remains the undeniable star of this show. His supple, passionate voice is my second favorite Phantom only to Michael Crawford (extremely high praise), and he is honestly the main reason I decided to see this show again. He's a 100% performer, oozing the Phantom from his scaly facial prosthetics to his tippity toes, and he leaves everything on that stage by the end of the performance. Emma Grimsley is a new add as Christine Daae. She can certainly sing circles into the role, but I didn't sense quite the level of passion from her as I wanted. The same goes for Jordan Craig as Raoul; he can sing, but the chemistry between he and Grimsley fell a little flat (which for me is a driving point of the show's believability, especially with a Phantom as magnetic as Davis). Trista Moldovan returns as Carlotta and presents all the ego the role deserves; and Susan Moniz is a new add as Madame Giry, one I greatly enjoyed following throughout the show.

Photo by Matthew Murphy

I stand by my earlier exhortations that you splurge on closer seats to the stage for this production; I don't normally say so, but the extra money here really will be well spent. The design is truly out of this world, and you will get infinitely more pleasure out of plunging into that luxurious world if you can really see all its fine points. Phantom of the Opera remains a wonderful option for an early Christmas gift or escape from your family over the Thanksgiving holiday. Don't miss it before it's gone on December 1; click here for more information or to buy tickets.

Photo by Matthew Murphy

The Play That Goes Wrong is a Hysterical Mess

What if absolutely nothing went right? 

Photo by Jeremy Daniel

That's the question asked in the seriously committed physical comedy The Play That Goes Wrong (TPTGW), the latest in the traveling Broadway series at Hennepin Theatre Trust's Orpheum Theater.

Photo by Jeremy Daniel

A play within a play, TPTGW is supposed to be a devastating performance of a murder mystery on a college theater campus (think Clue). Unfortunately it never achieves the gravitas it wants, because literally everything goes south from the second the curtains open. Sets fall apart, actors forget their lines, props are misplaced, technicians get distracted, effects come in at the wrong times (or don't come in at all) - go down the list of the worst case scenarios you can imagine for live performances, and something is going to be awry at every single stage of this accidental horror show. The result is a heavily physical comedy that can't help but get you laughing at some point; the plot is so absurdly over the top that you just can't believe what you're seeing. There are several special effects that even had me gasping in shock, and I was amazed at how committed the performers were to this show.

Photo by Jeremy Daniel

A play like TPTGW only works if everyone is on board, and this cast is in it to win it. It's a taut group of eight performers, each of whom end up serving multiple roles in the play as events unravel and further support is needed to keep the show going. Annie Twilloil is the jack of all trades as the crew member who is forced on stage when the only female performer, played by a vivacious Sandra Wilkinson, is knocked out by a set piece. The two women have very different styles and duke it out, and I enjoyed the contrasting temperaments they displayed. Max Bennett takes clear delight in the absurdities, and his balletic movements made an odd contrast to the roaring dumpster fire of a production surrounding him. Jonathan Harris has the fewest lines as "victim" Charles Haversham, but his wordless stage exits were the funniest thing to me in the entire show. Robert Grove's carefully rehearsed basso voice is just the kind of outrageous exaggeration a show like this needs, and Trevor Watson's disgusting antics as the out of control stage hand shed unwelcome light behind the scenes. Dennis Tyde was charming as the memory-challenged butler Perkins, and Chris Bean has a smooth, lithe delivery as the only cast member worth their salt.

Photo by Jeremy Daniel

If this show gives any value outside of comedy, it's in demonstrating the extreme importance of good, safe production design and technician work. It's easy to take for granted how hard it is to make safe, visually exciting set pieces. There is a horror to be found in the comedic antics of this group; if this were a real life scenario it would be extremely dangerous and even life threatening. I'd like to take this opportunity to give a resounding round of applause for the unsung heroes of our #tctheater community, the stage hands and set builders and costume and scenic designers who spend thousands of hours ensuring that every performer is able to safely act their part. It's unfathomably hard work that very rarely is adequately applauded, and The Play That Goes Wrong does an amazing job of demonstrating why those roles are so important.

Photo by Jeremy Daniel

I also enjoyed the light TPTGW sheds on choreography. Too often people associate choreography and blocking solely with musicals; while musicals provide the most obvious example of choreography, it's also very important in plays. I think it's especially important in comedies, where timing is everything; in a physical comedy such as TPTGW, where the disintegrating set is almost a character of itself, is even more important than usual. There are several moments in this show where a person standing even an inch to the left or right could mean serious injury to their person, and this group clearly has run through every conceivable scenario to ensure they stay safe. It's a masterful physical performance and is sure to awe even the most jaded theater goer with how daring it collectively is.

Photo by Jeremy Daniel

TPTGW is not a perfect play. It's a little too long for my taste (I think it could well do with an intermission-trimming haircut) and can become a little overwrought. We get the point after seeing a joke repeated two or three times - going up to five or six is overkill and unnecessarily time consuming. This is definitely on the farther end of the spectrum for "dumb" humor, so if physical comedy isn't your jam it might be a tougher sell. All that said though, I was very impressed with the amount of spectacle on stage and the sheer bravado of the choreography. If there were ever meaning behind the cliche phrases "all for one and one for all" and "the show must go on no matter the cost," this cast absolutely defines it. They are totally fearless and seem like they're having a lot of fun, and isn't that what live theater is supposed to be all about? This is a very different kind of Broadway play than usually tours through the Orpheum, so I think it's worth a look if you want a change of pace. For more information about TPTGW or to buy tickets, click on this link.

Photo by Jeremy Daniel

Hello, Dolly! Still Has It Thanks to Betty Buckley

The show is in good hands with the legendary Betty Buckley

Photo by Julieta Cervantes

We seem to be in an era of revivals, these days. Carousel, My Fair Lady, Oklahoma! and Hello, Dolly! Have been making waves on Broadway for a few years now. Of all these recent revivals, Hello, Dolly! is the first to make it to the Twin Cities - and it was actually worth the wait.

Photo by Julieta Cervantes

I've reviewed Hello, Dolly! before (most recently the Chanhassen Dinner Theatre's fun production) and I was honestly feeling uninspired when I learned it was on this year's touring Broadway circuit. I once heard this show described as a dowager that doesn't age well, and I have often shared similar sentiments. Been there, done that... who cares?

Photo by Julieta Cervantes

So imagine my surprise, then, when I encountered a spunky, lively production that leans right into that dated material to enhance the comedic effect and find something deeper to say. Dolly Levi is still meddling in her matchmaking ways, holding people hostage and steering them towards her preferred endings; there are still sexist old white dudes and a host of highly gendered lyrics. But it's all delivered here with a wink and a smile, and the sheer joy this cast brings to their parts got the audience deeply engaged from the very beginning.

Photo by Julieta Cervantes

It doesn't hurt that Broadway legend Betty Buckley came out for this tour; a wise choice, considering Broadway attendees got to savor performances from Bette Midler and Bernadette Peters (the original cinematic Dolly was Barbra Streisand... what's up with all these B-named primadonnas starring in this show!). It was an immense pleasure to watch a theatrical legend swan around for a couple of hours, and Buckley clearly relishes every second. Her monologues were especially powerful, bringing real tears to her (and many audience members) eyes. She is deliciously foiled by Lewis Stadlen as the blustery Horace Vandergelder. Stadlen is a complete riot, a lethal stylistic blend of Nathan Lane, Tony Shalhoub and Burl Ives, and he's my favorite actor I've ever seen in that role. He had the audience roaring with laughter at the first note (not an easy feat, considering some of his solo lyrics), and watching he and Buckley spar through their scenes was an absolute delight. The rest of the cast has sunny smiles and strong singing voices, and they anchor the rest of the show so that Buckley and Stadlen can shine. It's a true group effort, and combined with Robert Billig's masterful conduction of the pit orchestra, musical lovers are sure to be delighted with the experience.

Photo by Julieta Cervantes

I found myself surprisingly engaged in the production design of this Hello, Dolly! as well. No expense was spared in the lavish sets, and this production served me all the Broadway glitz and glam that I found sorely lacking in the recent tour of Charlie and the Chocolate Factory in the same theater. We have trap doors! A working steam train! Three-D, watercolor painted scrims! Easter egg dyed costumes! Luscious velvet restaurant curtains! Absolute mountains of props! It's all the OG theater stuff I grew up entranced by, and hats off to the amazing production designers for executing a fully fleshed, over the top vision that was a true feast for the senses. The choreography by David Chase deserves a special call-out - dancers are absolutely flying around this stage in rickety 1900s-era heels with nary a care, and their fearless performance added to the showstopper scenes (especially that butler scene in the Harmonia Gardens restaurant - *how gorgina*, as Jonathan Van Ness would say).

Photo by Julieta Cervantes

All of this to say, if you've seen Hello, Dolly! before, I think this traveling production is still worth a stop this weekend. If you haven't seen it yet, then this is a must-visit. You'll get to see a Broadway legend at her most fabulous and vaunted, paired with a dreamy (and equally legendary) comedic partner. The production design and dancing are likely to dazzle even the most jaded theater goer and the musical performances are no slouch either. Tickets to shows like this tend to be pricey and you don't always know if they're worth the admission. I think this is a solid bet on bang for your buck, if you like that showy Broadway kind of thing. Definitely look into it by clicking here for more information and to get tickets.

Photo by Julieta Cervantes

9 Reasons Why I Still Care About Hamilton

Look around, look around, how lucky we are to be alive right now... 

Photo by Joan Marcus

I'm sure that, unless you live under the world's heaviest, largest rock, you've heard of the theatrical juggernaut that is Hamilton by now. I'm also sure that you've heard Hamilton has finally landed at the Orpheum in Minneapolis, a long awaited event that crashed the Hennepin Theatre Trust's season subscription website multiple times.

Photo by Joan Marcus

As of last week the production is running; aside from the fact I attended Friday's performance, I know this because downtown Minneapolis (where I live) has been routinely flooded with newcomers around curtain call time. It's thrilling to see people this genuinely excited to attend a theater, and anyone must admit that the general feeling surrounding Hamilton is truly next level compared to the usual audience experience.

Photo by Joan Marcus

I could do a traditional review of the show and it would say the same things as everyone else's reviews - the cast is stunning, the choreography striking, the show hums along with boundless energy - in short, it's a pretty flawless experience that is certain to please first timers and regular attendees alike. But it's boring to be repetitive, so I'm not going to do that.

Photo by Joan Marcus

Instead, I'd like to share some general thoughts for the skeptics still out there who think Hamilton is over-hyped and unworthy of the attention it's received. I do understand that this entire exercise is gratuitous - the last thing Hamilton really needs is more press - but I do think it's worth stopping (as the show itself says) to look around and really appreciate the cultural moment we're enjoying. Here's what I've got:

1. The collective visual and emotional impact of this brilliant, unironically, intentionally diverse cast is impossible to overstate. I've seen so many shows that throw a bone to the idea of diversity by checking boxes or casting a few token actors, or worse yet, so many more that don't even bother to try. I've heard more arguments than I can count about "maintaining historical accuracy" used as a tool to prevent women and people of color from participating in performances and erase them from stories that they belong in. With the advent of Hamilton, that pernicious set of lies has finally kicked the bucket. As a history major, one of the things I most appreciate about this musical is that it puts context back into history - all the people our popular narrative forgot to remember are here en masse, kicking ass and taking names. Theatrical history is now divided into Before Hamilton and After Hamilton, and any producer who tries to ignore the public's expectation of talented, diverse casting does so at their peril. 
2. The cast is truly the best of the best. So often people hear diversity and think "check the box." These actors were not cast to check a box. The extra of the extra on this stage is talented enough to lead any other show, and the musical ensemble is genuinely stunning. It's pretty easy to see why each soloist was cast in their roles, bringing unique flavor, swag, and undeniable musical chops to their performances. You will get your money's worth on this cast folks, believe me. 
3. Although often overlooked, the choreography really is innovative. It's totally understandable why so many people focus solely on Hamilton's music and lyrics, but the choreography is also interesting and vibrant. I found the battle and duel scenes to be especially fascinating, and I have heard from some who have seen the show multiple times that the choreography is the main thing they keep finding new detail in every time they attend. If you can, try to stop and just appreciate the movement on stage before it blurs by - there are some really cool techniques that make this choreography really pop.
4. This tour overall is top notch. I think tours are often viewed as the B-level of experiencing a particular show. While of course it's disappointing to miss original cast members in famous roles, that hardly means you'll get short shrift by attending a tour, and sometimes tours can even feature better performers. I have it on good authority from fellow bloggers who have seen this show multiple times - including with the entire original cast, from Lin Manuel Miranda to Leslie Odom Jr. - that this is their close second favorite to the initial cast. Believe them. 
5. Lin Manuel Miranda really, really deserves his due. Although this story (or at least its high points) is familiar to anyone who took American History 101, the scope and vitality of Hamilton throughout is truly unique. It takes vision to write any narrative, but especially one that is typically as dry and boring as this one, into a living, breathing entity. Life pulses through every inch of Hamilton, from the spectacularly detailed lyrics to the syncopated rhymes to the orchestration that somehow manages to weave Jay-Z, beatbox, Destiny's Child, rock and roll and traditional Broadway ensemble chorus together into one seamless package. I still think that In The Heights (my review here) is Miranda's orchestral masterpiece, his true Bernstein moment - but Hamilton is no slouch, and it takes a whole new direction that deserves all the credit it's gotten and then some. 
6. Hamilton makes people care about history. So many people think of history as a dry, dead thing that happened centuries ago and doesn't have anything to say about the time we live in now. Oh how wrong they are! Every situation we encounter today, from wars to immigration policies to presidential elections, is built on a foundation of something that happened in the past, and it behooves us to understand that context so we can move our futures forward. Alexander Hamilton's true story has so much to tell us about navigating our current political mess, and if you pay attention you just might get some good ideas for future policies by listening to how he and his crew maneuvered through the American Revolution. 
7. Hamilton makes people care about theater again. The Twin Cities is blessed to have such a vibrant community of theater makers and patrons, so I think we can sometimes overlook how unusual our community is. There are plenty of areas throughout the U.S. that do not support the arts so enthusiastically, and there are plenty of people who think of theater as a stale thing that rich old white people do and has nothing of value to offer them. Hamilton provides an alternative, showing that someone can make a show - even a true story! - that includes everyone and makes it fun to go to the theater again. There are certainly some growing pains with this - I definitely saw a few people at the Orpheum who clearly had never listened to hip hop struggle to follow the songs here - but it's a necessary process if theater is going to survive into a new century with new patrons who value new approaches. It's high time we place more value on creating and performing original works that tell new stories, and Hamilton makes the number one case for why we should. 
8. The audience experience is truly next level. It's easier and easier these days to park yourself quietly in your home, Netflix-and-chill-ing, and never seeing another person. I get it - I do that too - but there is still something to be said about having a collective experience with a group of people. The energy of the audience at Hamilton is unlike anything I've experienced at another live performance (excepting perhaps a Beyonce concert), and it makes the whole event so much more fun. 
9. There are affordable ways to go. A common complaint I hear is that theater is too expensive, and that belief is not unfounded when it comes to big spectacle shows. The Hamilton tour has done much more than usual to try to make the ticket buying process as fair as possible. From an innovative registration program that blocked scalpers from purchasing ticket blocks to an ongoing - yes, you can still win! - lottery to sell $10 tickets to EVERY SINGLE PERFORMANCE (click here for details, it's real and you should apply), the Hamilton team and Hennepin Theatre trust are truly doing everything they can to make this an accessible experience. I'd love to see more of these strategies repeated at other tours and even local theaters whose tickets can get pricey. 

Photo by Joan Marcus

To sum it up: this is one everyone should see. If you are a regular patron, go to expand your mind about what theater can and should look like (and if you can swing it, buy a ticket to share with someone who normally couldn't afford to see this show but deserves to be represented in the audience). If you don't normally go, see if you can find a way to and find yourself inspired about supporting the arts and see them as a fulfilling endeavor. And either way: hats off to Lin Manuel Miranda and the extraordinary talents of this cast, each of whom has blessed us with a magical theatrical experience that is second to none.

Hamilton runs at the Orpheum Theater through October 7. For more information about the show, the ongoing ticket lottery, or to buy tickets (if you still can scrounge some up), click on this link.

A New Take on Phantom in Love Never Dies

Sometimes, all you want is a good B-list sequel. 

Photo by Joan Marcus

I was raised on the original Phantom of the Opera Broadway soundtrack. At 12 years old, when I got my first boombox #datedmyselfalready, I owned three CDs: Celine Dion's greatest hits; Barbra Streisand duets (including a glorious one with Michael Crawford himself); and The Phantom of the Opera soundtrack. I must have blown through that CD hundreds of times, entranced with Crawford and Sarah Brightman's expressive, lush vocals. It helped spark my interest in real operas and is a show I've loved returning to through the years, particularly the excellent 25th anniversary redesigned production (click here to read my review of the show last December).

Photo by Joan Marcus

So when I learned that there was an Andrew Lloyd Webber-penned sequel, I wasn't sure what to think. Would it ruin the original for me? How could it possibly live up to its predecessor? Do we need another Phantom story? How could it feel fresh when the original story felt so exhaustively explored already?

Photo by Joan Marcus

I'm happy to say that Love Never Dies, now showing at the Orpheum, is actually pretty enjoyable. I'd liken it to the Brendan Fraser Mummy movies of the late 1990s - not classics, not profound, but genuinely enjoyable and full of enough quality to keep you interested. I don't want to give away too much of the story as I approached it with totally fresh eyes and was genuinely surprised by the ending, but a brief summary goes thus: It's been 10 years since the dramatic events of The Phantom of the Opera. Raul has gone totally broke and Christine comes out of musical retirement to perform in America to earn enough money to pay their debts and care for their son. It turns out that years before, the Phantom escaped to America with Madame Giry and her daughter Meg in tow and has since been holding court on a dark corner of Coney Island. Once the Phantom learns Christine is nearby he of course cannot help but try to entrance her all over again, and the ensuing action totally rearranges our previous understanding of the relationships between these main characters.

Photo by Joan Marcus

I found the music pretty, interesting and different from the original while still holding that eerie Phantom feeling. It almost felt a little oriental at moments (that Mummy movie vibe all over again), and there are a couple knockout songs on the show (including "Devil Take the Hindmost," a dark duet between the Phantom and Raoul, and the stunning flagship song "Love Never Dies"). There are several real-life opera performers in this cast, a wise choice that allows each aria-like song to truly soar. Gardar Thor Cortes is glorious as the Phantom; his expressive and wide ranging tenor is beautifully paired with the lush baritone tones of Sean Thompson as Raoul, and their duet was a highlight for me. Meghan Picerno's soprano is a total knockout as Christine Daae, and she can act too. Picerno gives a rich performance throughout the show and has great chemistry with both male leads; she really hits new heights in the second act, which was much more interesting than the first and included her glorious solo on "Love Never Dies." The true star of the cast is young Jake Heston Miller as Christine's son Gustave, who is spectacularly talented and knocks his role out of the park. Miller has the falsetto of angels, and he is very impressive for being so young. The roles of Madame Giry (played by Karen Mason) and Meg Giry (Mary Michael Patterson) are played with equal strength; there really isn't a vocal weak link in the cast, a pleasure since these latter roles often feel like they receive less attention at casting calls. Mason and Patterson have great chemistry and their layered acting really helps this sequel feel fresh, a feat for building off of such a well-known story.

Photo by Joan Marcus

The set is much simpler than that of the thrilling revival of the original, which was a bit disappointing but also not that big of a deal. It mostly consists of various frameworks to give the suggestion of Coney Island without being cumbersome, and it's effective if relatively uninspiring. There are a few titillating moments where we get some magical Phantom sightings, but the main showpiece was the revolving stage. The constant motion made the otherwise simple set feel much bigger than it was, and there is some impressive choreography that really utilizes the full capabilities of that stage. The costumes are beautifully colored and have some lovely detail; I wish I could have seen them more up close, especially some of the gowns worn by Meg and Christine. Check through the pictures I posted here and you'll see what I mean.

Photo by Joan Marcus

Overall, I was pleasantly surprised by Love Never Dies, and it continues to grow on me after the curtains closed. At intermission I was feeling decidedly tepid about it; the second act really redeemed the show overall and made me more engaged. Since I saw it I haven't been able to stop humming along to the tunes, and I have a feeling that the more time I have to sit with Love Never Dies' lyrical orchestration, the more I'll like it. If I had my druthers I'd still make some edits - I think they could cut a few first act songs and shorten it to run without an intermission in a way that would really strengthen the story and make the pacing feel a bit quicker - but it's not at all bad as it is. If you love the original Phantom of the Opera and want to see something that will leave you happy and satisfied (like a boring but delicious chocolate chip cookie), I think Love Never Dies fits the bill. Hurry to go if you plan to, because it closes on July 1; click here for more information or to buy tickets.

Photo by Joan Marcus

Reviewed in Brief: Chicago

If there were one sentence to describe Chicago, it would be "sex on stage."

I've seen many sultry shows in my time, but little compares to the sensual explosion that is Chicago. From the barely there costumes to the musical sighs to the iconic Bob Fosse choreography, Chicago oozes sex through every pore.

Photo by Paul Kolnik

If you're not in the loop, Chicago tells the story of the murdering women in the Cook County Jail in the 1920s. There are women there for many reasons; some had cheating partners; some had men with annoying habits; only one of them is innocent. The plot centers on the competition between two inmates, Velma Kelly and Roxie Hart, as they try to parlay the fame generated from their crimes into showbusiness careers (once they get free from jail first, of course). It's a riveting competition, one that predicted the incredible fame grabbing happening among social media influencers these days (#kardashians), and it's impossible not to be sucked into the all-out lengths each woman would go to in order to maximize her paparazzi moment.

Photo by Paul Kolnik

It's been a while since I've seen the stage version and I was excited to check out the Broadway tour at the Orpheum this week. All of the classic elements are there, from "All That Jazz" to "Cell Block Tango," and the audience went wild for it. However: I'm not sure why, but this cast didn't hit my sweet spot. I thought Dylis Croman had a great sly delivery as Roxie Hart and Jennifer Fouche had a delightful swagger as Matron "Mama" Morton. The dancers are all extremely talented and step in time. But something about Terra MacLeod as Velma Kelly just didn't do it for me. I've been a solid fan of Chicago since I saw the incredible 2002 film with Catherine Zeta Jones, and I think I was looking for a performance closer to hers. MacLeod isn't bad, but it's much more of a physical performance than a vocal one - just not quite for me. Several of the men's performances felt a little dialed in and the chemistry just wasn't there. The audience loved it, so I'm likely alone in my feelings, but this one was missing the spark that always made Chicago such a spunky surprise for me.

Photo by Paul Kolnik

One thing I did really enjoy? The set. In a bit of a twist, the band is on stage on a tiered performance platform so we can always see them playing, just like we would a live jazz band in a steamy club. It gives a concert-like effect to the show and definitely helps keep things paced more quickly since no sets need to be moved. I loved watching the conductor interact with the actors as they performed their numbers; it reminded me a lot of watching my dad interact with the high school students acting in the plays he conducted pits for while I was growing up. I don't think pit orchestras often get as much credit as they deserve, so it was awesome to see this one being celebrated front and center.

Photo by Paul Kolnik

I was also troubled by some of the audience reactions to the show. It seemed like most of them found Chicago to be... funny? The plot is certainly told with a giant sly wink, and there's a lot of sarcastic banter throughout the show. But the idea of celebrating women for committing murders troubles me; as much as the show has a darkly comic side, the point has always seemed to me that it sheds light on the enormous injustices of our criminal justice system. Innocent people are often incarcerated and punished for crimes they didn't commit; even the most guilty person can get out of sentencing with enough money and influence. Several heartbreaking conclusions are made throughout the show, and even Velma and Roxie come to see the double edged sword of their fame by the end. I must be getting old or something, because I've had similar qualms with other seriously-themed shows playing locally lately. I hate to be a negative Nancy but... I just didn't feel right about the overly jovial atmosphere. I love Chicago; I love that it allows women to be more than precious saints / angels / mothers and embraces the darker side of their complexities; but I also think we can hold that in a more thoughtful place. I'm probably being a Grinch, but I have to be honest.

That said, the rest of the audience went wild for this Chicago, and if you're a previous fan I think you could truly enjoy it. Chicago runs at the Orpheum through June 10, so make sure to get your tickets very soon if you want to check it out. Click on this link for more information or to buy tickets to the show.