Courtesy of Ivoryton Playhouse

If Mel Brooks himself were reviewing the Ivoryton Playhouse’s latest show, “The Producers,” he might write…. “You want clichés – we got clichés! You want stereotypes we got stereotypes! You want dancing Jews and singing Nazis? – Got em!”

This rib-tickling musical romp insults everyone from gays to grays. But who can stay insulted when the material is so Brooksian funny?

As Mel once said, “Funny is Money!” Who can argue with that?

Director Julia Kiley and choreographer JR Bruno have set an explosion of enthusiasm and mirth into the gleefully over-the-top performances of a wacky first-rate ensemble. cast.

R. Bruce Connolly as Max Bialystock bounces through his well-understood character interpretation of the nearly insane producer with boundless energy and a booming voice worthy of Yiddish theater! His “The King of Old Broadway” and “Betrayed” are outstanding and memorable.

Wannabe producer Leo Bloom, as played by Michael McDermott, morphs from a sniveling angst-driven accountant to a confident show-biz mogul. McDermott’s top-hat- and-cane “I Wanna Be a Producer” and his “Till Him” exemplify his vocal talent.

During the action, prior to the opening night of the show-within-a-show, namely “Springtime For Hitler,” the producer tries to entice a faaaaabulous director to work on this terrible show in a très-gay scene and ensemble number worthy of “La Cage aux Folles.”

Courtesy of Ivoryton Playhouse

Leading the charge of floating queens onstage is Carmen Ghia, delightfully played and sung with a comedic swish and a scream by Schuyler Beeman. William Broderick plays Carmen’s employer, elegant theater director Roger DeBris. Get it? Broderick’s voice is mellifluous and his legs are outstanding, as he appears onstage in a luscious black cutaway gown. The” madness ensues as gay stereotypes of every kind proceed to limp wristedly sing “Keep It Gay” – and the cast does just that! We were convinced!

Before the end of the first act, via the wonderful performance of Liz Clark Golson as secretary/actress Ulla, insults are hurled at Swedes, tits, and blondes in her number “When You’ve Got It, Flaunt It.”

Germans are insulted by Mark Woodard’s turn as Franz Liebkind in “Der Gutten Tag Hop Clop,” and little old ladies are lampooned as sex-starved dummies cheerfully tap

dancing on walkers while singing “Along Came Bialy,” a boffo first-act closing number.

But wait, folks – you ain’t seen nothin’ yet!

The insanity reaches its apex with the opening number of the pseudo worst-show-ever aptly titled “Springtime for Hitler.” Milkmaids, lederhosen, clomping, goose-stepping and seig-heiling Nazis whirl about the stage in joyous Third Reich euphoria. Even the demonic Hitler sings “Heil Myself’ to show that he’s just one of SS boys! What could be wurst?

Even though it’s shocking to see the swastika so joyfully bandied about, Mr. Brooks manages to make damned fools of those damned Hitlerites and their insane leader. And although, Max Bialystock, the “producer” is actually hoping for his show to be a flop, it is, in reality, just like the real show at Ivoryton, a major hit. Who knew how much fun Jews, gays, Nazis, little old ladies, and homeless Broadway beggars could have on the stage all at the same time?

Courtesy of Ivoryton Playhouse

The orchestra conducted by John S. DeNicola provides a fine musical framework in the ensemble numbers “Opening Night,” “Prisoners Of Love” and the after-curtain-call song “Goodbye,” but some of the lyrics of solo numbers and duets were often drowned out by the too loud music. And a few of Tate R. Burmeister’s lighting cues went awry, especially when two performers were on opposite ends of the stage – the one on the left was twice in darkness. The other 99.9 percent of the lighting was character and scene appropriate.

Vivianna Lamb’s costumes and Tony Andrea’s sets blended perfectly with the idea of a schlock pseudo musical produced by a schlock producer. Both showed just the right amount of off-kilter clothes and scenery to make any investor wince. Wonderfully costumed Ulla, in her eye-popping re-decoration scene of Max’s office was sensational. Der German showgirls’ mad-Bavarian outfits brought belly laughs and the choruses’ ersatz Nazi uniforms made them look like the buffoons they represented.

If “funny is money” then there is no better investment in a good time than going to see to see one of the most ambitious and hilarious musicals ever produced at the Ivoryton Playhouse. Hop clop over and have a gut time!

Playing through July 31^st, performances are Wednesday and Sunday matinees at 2 p. m. with evening performances on Wednesday and Thursday at 7:30 p. m, and Friday and Saturday at 8 p. m. Tickets are $40 for adults, $35 for seniors, $20 for students, and $15 for children. Call the Playhouse box office at 860-767-7318, or online at www.ivorytonplayhouse.org. Group rates are only available through the box office. The Playhouse is located at 103 Main Street in Ivoryton, Conn.

Copyright © 2011. Critics On The Aisle. All rights reserved.

Bookmark to:

COURTESY of BUSHNELL and the NATIONAL TOUR OF WEST SIDE STORY

This first-rate revival of “West Side Story” is a more hard-edged tale of the Hispanic and Anglo gang turf wars on the streets of New York than the original 1957 production.

The theatrical and social conventions of the era neither allowed the use of authentic street language nor discouraged racial inequality. “West Side Story” is a perfect example of white-washing shows. In its original form it portrayed Hispanic gangs as the bad guys while making heroes of the Anglo gang members, and the verbal and body language was sanitized.

The 21st-century was the right time to bring authentic speech, non-bigoted characterizations and a more honest book to one of the theater’s most acclaimed musical productions. It already had a highly acclaimed score by Leonard Bernstein, powerful character-defining and plot-driving lyrics by Stephen Sondheim in his Broadway debut; and Tony Award-winning choreography by Jerome Robbins. So who better to rewrite the libretto than the legendary librettist, playwright, screenwriter, director Arthur Laurents? He wrote the original one for “West Side Story” and was never happy with many elements of his first effort.

He decided to re-write and direct this radically different version of the show. The only serious flaw in the “new” book is that Mr. Laurents retained some of the euphemisms such as “mother-lovin’’ “krup you” and “buggin” instead of using the authentic profanity that real people have always used on the street.. Laurents has succeeded in putting the Anglos and the Hispanic on a level playing field and given a realistic jolt of heat between Tony and Maria in all their love scenes, including the show-stopping duets, “Tonight” and “One Hand, One Heart.”

COURTESY of BUSHNELL and the NATIONAL TOUR OF WEST SIDE STORY

And the one song that so perfectly articulates the heart and soul of this musical variation on Shakespeare’s “Romeo and Juliet” and elicits the most profound emotional response from audiences – as all great musicals should but so seldom do today – is “A Boy Like That/I Have A Love.” This first sign of Sondheim’s lyrical genius says, “When love comes so strong, there is no right or wrong, your love is your life.”

Added to the greatness of Bernstein, Sondheim and Laurents the “West Side Story” stage explodes with some of the most exciting and energetic dancing ever seen in any musical, ever. And the ensemble is flawless; it leaves you breathless and exhilarated. Originally choreographed by Jerome Robbins it’s skillfully reproduced in this superb national company by Joey McKeely.

This revival of “West Side Story” on which this tour is based opened on Broadway to critical acclaim in 2009. It was written and directed by Arthur Laurents who died at the great age of 93 on May 5, 2011. This national tour company is deftly directed by David Saint. The West Side Story Orchestra is conducted by John O’Neill and associate conductor Paul McCaffrey with Steve Sanders on Keyboards, Rick Donato on drums and Michael Meza on trumpet – all superb musicians who make Bernstein’s music soar.

Kyle Harris as Tony and Ali Ewoldt as Maria give life, vulnerability and passion to their characters, while brilliantly interpreting the songs as though the words and music were written especially for each of them. The chemistry between Kyle and Ali is a rarity seldom seen in today’s current musicals.

Michelle Aravena as Anita is all fire, music and passion. She is bold, strong and takes command of each of her numbers. Ms. Aravena is a superb dancer/singer who is also a fine comedic actor as in “America” and then poignant and heartbreaking in ‘A Boy Like That/I Have A Love,” in which she warns Maria to quit Tony.

COURTESY of BUSHNELL and the NATIONAL TOUR OF WEST SIDE STORY

One of the levelers in giving equal weight to both the Jets and the Sharks is the use of Spanish lyrics in many of the songs. When the Puerto Rican girls are putting together an outfit for Maria to wear to the dance she and they sing “I Feel Pretty” first in Spanish and later in English, giving more authenticity to the song. In the neighborhood “Tonight” quintet, the Sharks chorus responds in Spanish to the threats and boasts of the Jets singing in English.

The exhilarating dancing and vocal talents of the ensemble are unquestionably five-star worthy. Each member of the cast beautifully wears his or her character like an alter-ego. Especially engaging is Drew Foster as Action, who shows us a slight madness in his characterization of a juvenile delinquent ready to explode. John O’Creagh as Doc, the owner of the drugstore hangout, nails his part when one of the Jets rips off some cigarettes from him and then asks “do you mind?’ Doc replies, “Mind? I have no mind! I’m the village idiot!”

“West Side Story” is not only a love story, but also one of bigotry, hatred, violence and in some ways, hope.

Even Arthur Laurents, in re-writing some of the libretto mentions that although this show was written some 54 years ago, we still haven’t learned, and the same prejudices and phobias exist, and in many places are worse than they were a half century ago. Yet to see “West Side Story” is an invigorating experience which, judging from the number of young people in the audience, might just, this time around, change some hearts and minds for the better.

WHAT’S UP THIS SUMMER & FALL…

WHEN: “Wicked,” 8/24 – 9/11. “Jersey Boys,” 10/19 – 11/6 2011

WHERE: The Bushnell Center for the Performing Arts 166 Capitol Avenue, Hartford

TICKET PRICES: “Wicked”: $33.00 – $89.00. “Jersey Boys”: $25 to $89

BY PHONE: (860) 987-5900

ONLINE: www.bushnell.org. Buy Tickets Online

Copyright © 2011. Critics On The Aisle™. All rights reserved.

Bookmark to:

Opening Trio: Nick Anastasia, Talisa Friedman and John Debkowski. Photo Courtesy Brett Bernardini

The Spirit of Broadway Theater in Norwich has a hit in the making with the premiere of the new feel-good musical “SNOW.”

Exceptionally talented writer, composer and lyricist Sean Harley bills his melodic and comedic show as “a musical romance” – while also being very funny and reflecting serious societal themes that are still relevant today.

Set in New York during the ’69 Vietnam war protests, the Stonewall revolution, and the time of ‘free love’ and drugs, this fresh and engaging look at budding romance and friendship, gay and straight, has so many laugh-out-loud moments that the social issues are relieved by laughter without being trivialized.

With the exception of a manipulative folk-singer diva, all of the characters in “SNOW” are real and likeable.

SBT ‘veteran’ Shawn Rucker – one of our favorite actress/singers – plays Jet, a lesbian pot pusher with a foul mouth, a tough swagger, and the proverbial heart of gold – for women, that is. The object of her admiration is Georgia, a college student experiencing her first time away from home and alone in New York, played and sung beautifully by Talisa Friedman. Jet and Georgia are exceptional in the duet “I Like What I See.”

Also enraptured with Georgia is Kyle, a songwriter-singer, who is brought to life by the engaging and silver-voiced Nick Anastasia. He’s at his best in the beginning of the second act singing the beautiful ballad “Home,” which also closes the show.

If things aren’t too confusing by now, add to the mix John Debkowki’s adorable interpretation of Raven, the best friend of Kyle, whose interest goes beyond friendship.

Raven tells of his first inkling of same-gender feelings in the lovely song “Steven Ivy.”

The anthem song of the show is sung by Stephen Scott Wormley who plays a loveable bitch-slapping queen named Milton. Milton leads the ensemble in “Come Out” a rousing and uplifting celebratory number, which closes the first act, and is a patriotic ode to the gay-rights movement.

Another ensemble song “Kansas” is a clever tribute to “The Wizard of Oz.”

Composer/lyricist Sean Hartley has cleverly taken the recognizable Harold Arlen classic tunes and Yip Harburg’s words and re-invented them to fit the coming-out and being true- to- you theme of “SNOW.”

Although chock-full of timely subjects, from drug use to abortion to discrimination and police brutality, nothing in the show is preachy or dark. The light hand of the triple threat writer/lyricist/composer gently pens the issues with grace, humor and style, and the songs are full of lovely melody and harmony.

One minor adjustment could be made in the staging of “The Snows of Malibu” which was a trifle over-the-top ‘carnival in Venice’ attempt to suggest the mind-altering effects of cocaine use. A more subtle hand in both choreography and costuming here would serve the rest of the production well.

Yet make no mistake; if you miss a hit of “SNOW” this go-around at the Spirit of Broadway, you will be paying, sometime in the not too distant future, $147 a seat to see this soon- to- be Best Musical in New York, or Boston, or London. So, come out, come out, wherever you are.

If you go…

WHAT: “SNOW”

WHEN: Through June 5 WHERE: Spirit of Broadway Theater, 24 Chestnut St, Norwich, CT

TICKET PRICES: $21 Group Rate (10 or more), $30 individual

BY PHONE: 860-886-2378 ONLINE: www.spiritofbroadway.org

Bookmark to:

Gabrielle Ruiz and Tony Yazbeck and the cast of "MY ONE AND ONLY". Photo by Diane Sobolewski

Imagine being transported to the high life of 1920’s Manhattan, with speakeasies, flapper dresses, bathing beauties, a Russian impresario, a lady mechanic and a daredevil pilot.

Welcome to the playful production of “My One and Only” at the Goodspeed Opera House.  The 1983 Tony Award-winning show, largely based on George and Ira Gershwin’s classic 20’s scores from prior musicals such as Funny Face, takes the audience back to a time when money was almost no issue and elegance was standard.  From the ushers dressed in top hats to the black and white films screened on stage during the performance, the theater was transformed into a realistic and compelling setting for the musical.  While the book is of an era long gone, Gershwin’s classic score still has a modernity that enthralled the audience.

The story of “My One and Only” revolves around the unique romance between Edythe Herbert, a British aquatic nymph, and Captain Billy, an ambitious pilot and southern gentleman.  The characters, played by Gabrielle Ruiz and Tony Yazbeck, moved the show along nicely through the plot with their melodic voices and skilled dance scenes, although there was a shortage of chemistry between the two.

Yazbeck’s dazzling dancing skills were superb, especially in the many spectacular tap numbers.  The show stopping performance on the ladies side came from Kirsten Wyatt’s portrayal of the spunky yet sweet Mickey.  She was able to deliver the dated script’s words in a witty manner, leaving the audience laughing at every joke, especially through her physical and rhetorical comedy.  The male stunners – Alde Lewis Jr. as the suave Mr. Magix and Trent Armand Kendall as the personable preacher – were both believable and charismatic, something that livened up the acts considerably.

It’s easy to only highlight the main players, but here the chorus and ensemble’s efforts should be duly noted.  Their tap dancing talents were the highlight of the show, especially the umbrella opening scene.  The dancing in the show consistently elicited an enthusiastic response from the audience. It was lively, giddy, and showy, just as it should be in a prohibition era musical.  The choreography of Kelli Barclay was clever and delightful, challenging enough to stun the audience but also to hold their interest.  Her choreography made us want to buy tap shoes and dance down the street!

Tony Yazbeck and the cast of "My One And Only". Photo by Diane Sobolewski

The costumes by Robin L. McGee were both stunning and whimsical. They evoked the glamour of the roaring 20’s, but also had hints of contemporary fashion that livened up what could have been cliché.  With the furs luxurious and the bathing suits cute, the costuming was the perfect fit for the show.  The set was basic enough to allow for the various dance numbers, and relied heavily on Paul Miller’s screen and lighting projections.  At times these were a little busy, but still helped to set the appropriate mood for the show.  Our favorite sets included the movie theatre scene and the Manhattan car ride through Central Park.

Overall, “My One and Only” is a charming look into the glitter and glam of the 20’s through exciting song and dance numbers. The show is not meant to tug at the heartstrings, but instead this theatrical version of cotton candy provides necessary relief from the stresses of the real world.  It is a fun musical fit for classic Broadway musical lovers and dance fanatics, a true masterpiece of tap dancing that is rarely seen anymore.  Despite some minor kinks, the show is most definitely the opposite of that word that rhymes with “snappy”, and a must see for a night of fun, fantasy, and frivolity!

“My One and Only” runs at the Goodspeed Opera House in East Haddam through June 25^th.  For tickets and information, call 860-873-8668, or online at www.goodspeed.org.

© Copyright 2011.  Critics On The Aisle ™. All Rights Reserved.

Bookmark to:

The legacy of two Connecticut theatrical legends is remembered in the Saybrook Stage Company’s production of “Our Town” at The Kate in Old Saybrook.

Katharine Hepburn, a life-long resident of Saybrook, the winner of four Oscars, an Emmy, two Tony Awards and eight Golden Globes, is the name sake of The Kate – The Katharine Hepburn Center for the Performing Arts. Thornton Wilder who lived in Hamden, Connecticut and taught for many years at Yale University in New Haven, won three Pulitzer Prize-Awards, including one for “Our Town.”

To find out more about the new Saybrook Stage Company, we talked with Cosmo Corigliano, a spokesperson for the production.

The Resident: How did you become affiliated with The Kate? 

Cosmo: “Actually, we have no official affiliation with the Kate, however, the hope is to have another production this summer – the exact times, play, etcetera will be decided after this production.”

The Resident: Why did you pick Thornton Wilder’s “Our Town” as the Saybrook Stage Company’s first production at The Kate – was it Thornton Wilder? 

Cosmo: “That is part of it and also a desire to put on an American Classic that has universal appeal.”

The Resident: Who founded The Saybrook Theater Company?

Cosmo: “It was Terri Corigliano; [his wife] she is also an actor in the play. Terri has been volunteering at The Kate since its construction.  She was involved in the initial fundraising events and continues to volunteer today.”

The Resident: How did you get director John De Nicola, who has done so many fine shows at the Ivoryton Playhouse, in addition to many other professional theaters?

Cosmo: “He came highly recommended from Patty Carver, a wonderful actress that lives in Essex. Patty will be playing the part of the Stage Manager in our play.”

The Resident: How did you find the cast members, stage crew and craft designers?

Cosmo: “We had an open audition and then combined that with some actors that had come highly recommended — the cast came together in a very natural easy way. Director John DeNicola, the director, arranged for the stage crew, lighting design and costumer.”

Each of those professionals, including actor Terri Corigliano, and the other experienced members of the cast, had a theater resume that would open any casting door from New York to Hollywood.

The award-winning “Our Town” has for years been an audience favorite for all age groups because of its universal and truthful themes about living in the moment and engaging in it fully – as envisioned by Thornton

Wilder, a master playwright and insightful storyteller, who captures the audience from Act 1 to the final curtain.

“Our Town” plays 8 p.m., Friday & Saturday, January 21^st and 22nd.  3 p.m., Sunday, January 23rd. Tickets

are $20 for adults and $15 for children. To order Call 860-510-0473, 877-503-1286 or directly online at www.katharinehepburntheater.org. The Katharine Hepburn Center for the Performing Arts, 300 Main Street, Old Saybrook, CT.

Copyright © 2011. Critics On The Aisle™.  All right reserved.

Bookmark to:

Cast from" Lincoln in Love" by David Friedman at Festival of New Artists Goodspeed 2010. PHOTO BY DIANE SOBOLEWSKI

The Sixth Annual Festival of New Artists, produced by Goodspeed Musicals in East Haddam, Connecticut, launches its three-day event of original new musical works, new artists in cabarets, and other entertainment programs Friday, January 14 through Sunday, January 16.

Goodspeed’s popular Festival Package ($79) covers the full weekend of special events and includes admission to all three staged readings; the New Musical Preview, a short preview of a new musical headed to The Norma Terris Theatre in 2011; the Friday Night and Saturday Night cabarets, the Symposium panel discussion with musical theatre luminaries; “Pick-Three” festival seminar sessions, a Saturday evening pre-show dinner at the Gelston House with an engaging post-dinner discussion hosted by a special guest speaker; and a Meet the Writers Reception.

For both Festival Package and single ticket holders (details below), Goodspeed Opera House tours will be offered throughout the weekend along with the following events.

Friday, January 14

7:30 p. m. A reading of the musical “Room 16,” on the Goodspeed stage. A fast-paced and darkly comedic look inside American political history.

10:00 p. m. Festival Cabaret showcasing new songs by new artists in the main dining room of the Gelston House, next door to the Goodspeed Opera House.

Marcy Heisler performing at the Cabaret/Festival of New Artists Goodspeed 2010. PHOTO BY DIANE SOBOLEWSKI

Saturday, January 15

10:00 a. m., 11:00 a. m., and 12:15 p. m. “Break-out Sessions” in the Gelston House have been expanded this year. Choose from two breakout sessions in each of the above time slots:

Famous Flops, Part II. A continuation of last year’s most popular session – with musical historian John Pike.

Back on Broadway: Why “Annie?” Why Now? Broadway general manager/producer Wendy Orshan discusses the upcoming revival from the producer’s perspective.

“Dreamgirls:” From Stage to Screen and Back Again. Composer Henry Krieger discusses his experience with the show from its inception to the present day, among other things!

How Do You?  Create a New Character. Broadway vets John Bolton (“Curtains”) and Kate Wetherhead (“Legally Blonde”) discuss the challenges of originating roles in new musicals.

How Do You Invest In a New Musical? Broadway general manager/producer Alan Williams gives the inside story about the financial side of new musicals.

How Do You Create the Look? An accomplished Broadway set designer discusses creating the physical world of a new musical.

Broadway and Hollywood Composer/Lyricist/Conductor David Friedman, Festival of New Artists Goodspeed 2010. PHOTO BY DIANE SOBOLEWSKI

4:00 p.m. Musical Theatre Symposium in the GoodspeedOpera House is sponsored by the Noel Coward Foundation. This event is free and open to the public.

5:30 p.m. Festival Dinner at the Gelston House. Enjoy a three course meal with fellow festival goers.

7:30 p.m. is the debut of a new-fashioned musical “Hello! My Baby” From debutante balls to Delancey Street, it puts a new-fashioned spin on the great American songbook musical.

10:00 p. m. A Festival Cabaret at the Gelston House featuring Brendan Milburn and Valerie Vigoda, composers of Striking 12, the first GrooveLily concert-musical that was nominated for the 2006 Lucille Lortel Award for Outstanding Musical will perform songs from their hit shows.

Sunday January 16

1:00 p.m. “Nobody Loves You” in the Goodspeed Opera House A romantic comedy about the search for meaningful relationships in a culture dominated by the quest for popularity.

3:30 p. m. Meet the Writers Reception. Gelston House. Gain insight into the inspirations and processes of the writers. Complimentary hors d’oeuvres and cash bar.

The Festival of New Artist also includes seniors from The Hartt School at the University of Hartford for real-world experience in new musical development and performing new  musicals along with students from the Boston Conservatory.

For the Festival Weekend Package, $79, and single tickets, $15 a show, $10 for students, contact Goodspeed Musicals at 860.873.8668 or online, which also list lodging and dining on- your-own information, at www.goodspeed.org.

Copyright © 2010. Critics On The Aisle. All rights reserved.

Bookmark to:

web design

]]>

Mary Testa

The recent holiday season gave us a rare chance to re-connect with some of our favorite Broadway Babies On December 17. Three of the theater’s most talented performers, Jason Graae, Liz Callaway and Mary Testa sparkled and shined in “Broadway Divas – Give My Regards To…”

We first met Jason back in 1993 when he was co-starring in “A Grand Night For Singing” on Broadway, and since then we’ve eagerly attended his performances in Connecticut –from “The Music Man” at the Bushnell to the annual summer Yale Cabaret Conference.

The last time we saw Liz Callaway (“Cats” and “Miss Saigon”) it was in the middle of the Atlantic Ocean!  She and her sister, Ann Hampton Callaway (who wrote TV’s “The Nanny” theme song) performed on a transatlantic crossing aboard the QM2 back in May of 2007.

Joining this divo and diva at Edgerton was Broadway’s Mary Testa, whose bold rich voice and warm and witty stage personality gave us the motivation to interview her after the show.

Liz Callaway

The trio began the 90-minute show, on a stage covered in a forest of evergreen trees twinkling with fairy lights, harmonizing through the friendship tune “Together.” Each singer then had a solo turn, beginning with Mary Testa and her homage to the season with “The Little Drummer Boy” and then knocking the Christmas stockings off the audience with a showstopper, “Got a little motto/Always sees me through/ When you’re good to Mama/ Mama’s good to you” from her Matron Morton role in “Chicago.” Wow, can that girl sell a song!

When Mary did “Make Someone Happy” she seamlessly included everyone’s relationship by singing “once you’ve found him – or her- build your world around him- or her…” cleverly updating the lyric with a 21^st century sensibility without losing the original rhythm of the song.

Jason Graae, as always, instantly ingratiated himself by saying, “you probably came to see Liz and Mary and are wondering…..who the heck is HE?’” ‘He’ then launched into his energetic and zany renderings of “Applause” from the musical of the same name, “Popular” from “Wicked,” and his own holiday song celebrating Christmas, Hanukkah and Kwanzaa. The story of his stint as the voice of the leprechaun for Lucky Charms cereal commercials was just as funny as the first time saw him do it with brilliant comedic timing. Jason also sings with gusto as heard on his Broadway CD “You’re Never Fully Dressed Without A Smile.”

As his act came to an end, he was joined by Liz Callaway in the man-vs.-woman duet, “Anything You Can Do I Can Do Better,” from “Annie Get Your Gun.”

With more than 500 performances as Grizabella in “CATS” on Broadway Liz once again sang “Memory” so beautifully that it was as if we were hearing the song for the first time. And Liz is not afraid to take chances – she had the courage and talent to tackle one of Barbra Streisand’s signature songs “People, which is no mean feat for a Streisand classic.  The Callaway sound can be best described as crystal clear, true, and show-biz perfection.

Jason Graae

Accompanying Liz, Mary and Jason was one of the must sought-after piano accompanists and arrangers in the business, the talented and delightful Alex Rybeck. He was introduced by Liz as “one musician sounding on the piano like a 60-piece orchestra.”  We caught up with Alex to find out more about his music career, He modestly replied, “I had a wonderful piano teacher who taught me that a piano is both a percussion and a string instrument.  The balance of the two elements, incorporating lightness of touch required by strings with the heaviness of percussion is what creates an exceptional sound.”

The Edgerton Center also features two more Broadway Babies, Rebecca Luker and Howard McGillin, on Feb. 12, and the indomitable Broadway and Hollywood star Debbie Reynolds on April 10.  Also in April the university’s new Theater Arts Department is doing the Broadway hit “Little Shop Of Horrors” followed by “Sweeney Todd” in July.

This is a comfortable and professionally designed theater with excellent sight lines from each of the 776-plush seats, so get onto your Blackberry, Cranberry, Apple iPad, iPhone or PC and buy those $20.-$30. tickets at www.edentergertoncenter.org or call 203-371-7908.  the first-rate shows here costs less than parking space in Manhattan!

Copyright © 2010. Critics On The Aisle. All rights reserved.

Bookmark to:

(l-r) Ronn Carroll and Brian Sears sing "GRAND OLD IVY" from Goodspeed's "HOW TO SUCCEED....."

Humming and dancing our way out of the Goodspeed Opera House after “How To Succeed In Business Without Really Trying,” we overheard enthusiastic theatergoers saying “it’s the best thing we have ever seen at Goodspeed!”

We would agree this Goodspeed Musical comedy is one of its most exuberant and well-produced shows that we’ve seen over the years.

With music and lyrics by Frank Loesser (“Guys and Dolls”), a well-structured and witty book by Abe Burrows, Jack Weinstock and Willie Gilbert this satire of American business is as relevant today as when we saw the original 48 years ago!

Opening the show is an impish character, J.Pierpont Finch, a manipulative and ambitious window-washer who uses his considerable charm and unconscionable guile to climb the ladder of success from the mail room to the top rung in no time at all.

He silently absorbs the advice in the pages of a little self-help book “How To Succeed….” The text is delivered by an exceptionally fine voice-over narration – the playbill credited a major Connecticut politician! (Maybe a new career is in bloom.) The narrator describes the various ways to deviously undermine colleagues to get ahead – highlighting the similarities between corporate and government political machinations.

"PARIS ORIGINAL" NUMBER - Cast of Goodspeed's "HOW TO SUCCEED......"

Brian Sears plays Finch, and he’s perfectly described by those lyrics from the song “I Believe in You” as having, “an upturned chin, and the grin of impetuous youth,” The cunning character’s reprehensible behavior in the corporate world is nonetheless devilishly winsome in Brian’s charismatic portrayal on stage.

Finch’s love interest, Rosemary, who is somewhat affectionately ignored by him in the first act, is beautifully sung by Natalie Bradshaw, whose character dreams of marrying the rising executive so that she can move to New Rochelle and be “Happy To Keep His Dinner Warm.”  A not uncommon hope and dream of moms and daughters in those pre-lib days, and we occasionally still hear it today.

As head of ‘World Wide Wickets,’ talented Ronn Carroll bombastically bellows and blusters through his role as J.B. Bigley, and his “Grand Old Ivy” duet with Finch is an encore-inspiring showstopper – a given with this magnificent performer. (Pellinore in last season’s “Camelot.”)

Va-va-voom,  red-headed bimbo, secretarial hopeful Hedy La Rue, is performed superbly, in the great tradition of broad comedy, by sexy Nicolette Hart. She’s at her very best when she belts out “Love From A Heart Of Gold.”  Hedy causes the inevitable downfall of many executives who lust to secretly ‘meet her around the corner,’ another highlight, among many, in this satirical romp.

Erin McGuire’s ‘Smitty’ sings “Been A Long Day” and “Paris Original” with a clear and true Mermanesque voice. Miss Jones, as portrayed by Jennifer Smith, breaks out of her middle-age staid demeanor when flirting with Finch, and in her contribution to the rousing hand-clapping-gospel-style number “Brotherhood of Man.”

Fourteen fine singer-dancer-actors accompany the featured male executives led by Tom Deckman as Bigley’s nephew Bud Frump, a mamas-boy who at first attempts to quietly undermine Finch’s secret ambitions but steadily builds his venomous jealousy into a hilarious crescendo of whiny, hysterical frustration.

The dual roles of Mr. Twimble and Mr. Romper are played with gusto by Richard Vida. It’s another memorable performance in this skilled actor’s long Broadway-based career.

Aaron Serotsky, James Beaman, and Jerry Christakos, as Bratt, Gatch and Ovington, round out this great production with their glorious voices and solid characterizations of 60’s-style corporate yes-men.

Director Greg Ganakas, a Connecticut Critics Circle Award winner, is most likely too young to have seen the original Broadway production.  Yet he infuses this revival with all the elements that made it a huge hit in the early 60s. It moves along as briskly as Finch’s climb to the top.

PHOTO I: Brian Sears as J. Pierpont Finch reads from the book "HOW TO SUCCEED........."

Perhaps the only downside in this incarnation is that a couple obvious laugh lines in the libretto were surprisingly missed by the director and his actors. For instance the timing in a line about a haddock sandwich being delicious early in the week was thrown away during the singing of “The Company Way.”

The towering office set, by Adrian W. Jones, is mid-20^th-century moderne and modular, enabling the scenic changes to be quick and flawless. Paul Miller’s lighting adds to this quickness each time he cleverly spotlights only Finch who knowingly shares with the audience each manipulative office coup. It makes these split-second moments a complete scene.

Gregory Gale’s costumes perfectly capture the Madison-Avenue style of the times, and his gowns in the celebratory party scene are flowing, elegant fabrics and colors. There’s a wonderful sight gag in the design of a pink frock.

Choreographer Kelli Barclay moves the cast around the tiny stage with fluidity and gusto. Her considerable talent is at its best with “Brotherhood Of Man.”

Every lyric and spoken word is heard clearly via Jay Hilton’s sound design, and Dan DeLange’s orchestrations and Michael O’Flaherty conducting add their renowned talents to the overall success of the production, especially by not drowning out the voices in the musical scenes.

This is bubbly, bouncy Broadway at its best. See it before it leaves Goodspeed on November 28^th. For tickets call 860.873.8668 or go to www.goodspeed.org.

Copyright © 2010. Critics On The Aisle™. All rights reserved.

Bookmark to: