You can’t ever have a full rounded musical theatre experience without an extensive pilgrimage to both sides of the Atlantic. After a thrilling theatre itinerary in December, I flew back to the US in May to keep abreast with the musicals of the season, and made a few repeat visits:
HAMILTON
21 May 2017, Chicago
This is my fourth or fifth visit, having seen it in December. This outing featured two new leads: Joseph Morales as alternate “Sunday” Hamilton, and Daniel Breaker (Passing Strange, Shrek) as Burr. The entire cast remains strong, ever so focused and so tight in movement, even better than they were in December, and the show is smooth as butter. Breaker gives an understated performance as Burr against Morales’s young and reckless. Karen Olivo steals the show with her highly analytical Angelica, and the Nora Jones-sounding Ari Asfar refuses to be a victim of her own circumstance.
AUDRA MCDONALD & SETH RUDETKSY (with WILL SWINDEN)
23 May 2017, Chicago
I was getting a shave and hair trim when I found out that these guys were performing at the Steppenwolf Theatre Chicago. The site showed me a sold out show, but somehow tickets were available a few hours later. Similar to other shows he does with Patti LuPone, Megan Mullally across the country or in London, this was the usual evening of banter and gossip with Seth. Something tells me that the program is more or less identical to the concerts they gave in London at the Leicester Square Theatre at the beginning of the year, which I missed because there’s nothing more depressing than a cold city after December. I was underwhelmed, considering this is my Audra McDonald debut. There was something about the predictable series of songs (which were all fine: several songs by Sondheim, “I Could Have Danced All Night”, and even a non-amplified “Summertime” encore). There was a sense that the program was done to death, and that the participants seemed exhausted and overworked.
The main purpose of the gig was to see Audra, Seth and Will. Yes, in that particular order. Will Swinden was there to basically baby sit their child, because he couldn’t have performed for more than twelve minutes. The couple sang an over the top “You Don’t Bring Me Flowers”, desperate for laughs from the audience, and he sang “I Am a Pirate King” from Pirates of Penzance, which he said will be on Broadway next season.
Even Seth seemed pooped by the end, surprisingly, because he always seems to have had five Redbulls before going on stage.
COME FROM AWAY
27 May 2017, Broadway
More like Go Far Away From Me. I decided to only give this a chance some time ago simply because of its Tony contention, and also because I have serious FOMO tendencies. The cast is extremely talented, and the switching between characters is extremely fluid and smooth. Can’t say that there’s a plot per se, it seems more like a series of vignettes. I am not one for ensemble casts, and although there are a few standouts, it remains an ensemble show. The music is Lord of the Dance meets The Pirate Queen, except when the Middle Eastern character thinks or does anything privately, then it turns into the track every major American supermarket plays in the “ethnic section”. What could have been a complex piece is an unsophisticated treatment of a tragedy that changed the way the world has become since it happened.
WAITRESS
27 May 2017 matinee, Broadway
I saw Waitress in December of 2016 and felt that I needed to like it more. There was something about sitting in the front row that was too close, and I think I might have been cranky after a 16 hour flight (I mean, sure, it was Business Class, but still)! Oh yes, and the least popular opinion of all time: I didn’t love Jessie Mueller’s singing- that odd combination of “yodeling” and the bad sound mixing.
So with the wave of singer-songwriters performing in their own shows, I was tempted to see Waitress again, but this time sung and acted (in that order) by Sara Bareilles, who I much preferred to her predecessor. Though less tragic than Mueller, Bareilles gives a very natural and earthy acting debut, with easy listening singing without any vocal gymnastics or overdone vibrato and funny jaw action.
Though the story deals with rather serious topics, it stays light, simple and easy to watch, though occasionally cringeworthy (Ogie’s “comic relief showstopper”) and ultimately pro-life.
HELLO, DOLLY!
27 May 2017, Broadway
Hello, Dolly! is as part of the American DNA as apple pie. In the first grand revival, or the first revival on Broadway since 1996, this version is based Gower Champion’s but with a bit of a face lift by Scott Rudin’s creative team.
There’s a little star in the show, called Bette Midler, who practically owns the theatre, and possible the sole purpose this revival could have been realized to begin with. Midler is naturally charming, if not adorable when breaking the third wall, but to repeat an age old theatre cliché, I thought that the star was the show (well, this specific production with its fantastic choreography, scenery and costumes). I wouldn’t say no to a ticket to see Midler again, but I don’t think I’ll proactively seek a performance with her anytime soon, and would rather see the Tuesday Dolly, Ms. Donna Murphy’s take in this wonderful production.
Special mention to Jennifer Simard, whose comic chops should have made her fully eligible for a Tony nod over her co-star Kate Baldwin (who is already good to begin with). The male dancers must be the best in the business and could earn a full paycheck just for athletic Waiter’s Gallop. But before you know it, the audience surrenders to pure ecstasy when Midler struts down the stairs of the Harmonia Gardens in the iconic red gown and feather head dress, sashays around the passerelle that surrounds the orchestra.
There’s no show (at least not currently on Broadway) that is a classic as this one: hand painted scenery, eye popping 19th century costumes, rich and deep lighting (so much red!), a big brassy orchestra (sounds glorious live, and suppressed in the cast recording), and jokes that are unapologetically old school. Yet, some of the plot points that caricature women for gags are done without any sense of irony that it seems necessary for you to check out your 2017 sensibilities and sensitivity training before sitting down.
GROUNDHOG DAY
31 May 2017, Broadway
I was excited to see Groundhog Day (again) after my two visits at the Old Vic in London. This is practically a carbon copy of the Old Vic production, save a few changes and a new cast, with exception to the formidable Andy Karl. The most evident alteration is a re-staging of “If I Had My Time Again”, which no longer requires the people of Punxsutawney to (ineffectively) “ice skate” on an imaginary pound.
Tim Minchin (Music and Lyrics), Danny Rubin (Book) and Matthew Warchus (Director) have put together most sophisticated show on Broadway right now, and even managed to create something more special than the iconic movie. Say what you want about the convoluted Dear Evan Hansen, the darling of the season, which I enjoyed enough (and probably enjoyed best during a December theatre road show), but the White Teenage Angst Musical hardly has all the layers and the labor of Groundhog Day. I’m inspired just watching this clip of Tim Minchin deconstruct his eclectic score.