An ODIOUS Comparison of the Three Tenor FABRIZIOS of Piazza

[nomdeplume]

Posted: 2/18/06 at 11:24pm

Preface

WARNING AND DISCLAIMER: It is utterly taboo for Messrs. Aaron Lazar, David Burnham or M. James Morrison to read any of the following, which is inevitably, by its mere existence, stinky to one or each. The reason for this prohibition is to save each from the devastating effects of emotional trauma and/or the mortal sin of envy or of pride. All other readers are hereby forbidden to communicate any of its contents to the foregoing tenors under penalty of acquiring bad luck comparable to that from the curses placed upon the tombs of the Pharoahs.

Odious Comparison to follow in Parts I, II, and III below...





Updated On: 4/7/06 at 11:24 PM

[nomdeplume]

Posted: 2/18/06 at 11:27pm

Part I

The Intellectual

From the first entrance, on New Year's Eve, of Aaron Lazar’s Fabrizio, something is missing. Where is that soccer ball to announce his oncoming presence? If you are going to remove this magnificent prop of approaching boyhood then it must be replaced with something of equal intrigue. Just strolling out won’t do it. While Mr. Lazar’s looks are acceptable, there is nothing about him that says Apollo has just entered the picture.

Obviously selected for his trained operatic voice, Aaron Lazar lands his notes in Teutonic precision. Clear, on-key, well-projected. A fine vocal rendition of “Il Mondo Era Vuoto” in terms of timing and notes and flow; yet lacking in well-defined fraternal relations with that rascal brother, Giuseppe.

And where is the leap over the bench during “Passeggiata?” While frankly, I was more alarmed than enchanted when this bit was added during previews as it looked dangerous to me, its glaring absence wants replacement with some other theatrical bit of flair.

The oddest bit of acting that has been added, perhaps unknowingly, is unexpected erotic hip thrusts while singing “Il Mondo Era Vuoto” and later “Say it Somehow” as he stands behind the bed. It would be sexier without them, if it can be sexy in a Teutonic sort of way.

The lack of character development of strong brother-brother inter-relations is even more evident later in the show in “Aiutami,” Mr. Lazar’s weakest number, and in the scenes set in the Nacarelli family home. He seems somewhat oblivious toward his brother. And this is an older brother, who would naturally be an influence in his life, for good or bad.

There are many gestures which can enhance the acting role, such as the “prayer hands” to the mouth nuance when approaching Clara in her wedding dress which have been discarded without a choice of replacement, or just forgotten, though the following “Love to Me” is well-sung.

Altogether, shall we say, an intellectual performance.

[nomdeplume]

Posted: 2/18/06 at 11:56pm

Part II

The Physical

David Burnham gives a rather interesting, if all over the place, performance as Fabrizio.

Again, I observed no soccer ball. And missed it. And demand some sort of replacement, however Method the acting, to announce the character arriving. Where is thy chariot, Apollo?

Mr. Burnham is not hard on the eyes, and I suppose skinny legs are to be expected of a boy of twenty. He is certainly energetic and was all over the stage with no problem. However, there was almost a hyperactivity about the acting. Now I know he is playing one of those very excitable young emotional Italian men, but Mr. Burnham can get that across with greater effect by reducing his physical motions by half or more. He can suggest more with much less. And I think he would experiment and learn to do this as he got a chance to play the role more over time.

His weakest point is “Il Mondo Era Vuoto,” which was a wreck. Too segmented, the musical delivery of the song lacked a sense of a whole piece. Suddenly a very strong operatic sound would come barreling out in places that destroyed the impression of this song, which has a certain grandeur to it, as a whole. There was jarring instead of legato, which would take you up and along with the song. This seemed to have been caused by adding too much frantic physical activity in part. There was a delicious surprise of a sudden outreached leg slicing a kick in the butt to his snootily misbehaving brother Giuseppe which should definitely be kept to keep Mr. Berresse in line. There just needs to be a choice of activities deliberately made.

The bench leap was back in for “Passeggiata,” which was well-sung.

“Say it Somehow” was Mr. Burnham’s piece de resistance. This scene generated more sexual intensity than any of the combinations I have observed. The state of passionate abandonment was such that if the mother hadn’t made her arrival you are certain the lovers would have consummated the act within fifteen seconds. Firecrackers! One aside, however. Mr. Burnham has got to watch how he looks at Clara when he is onstage in his other role and remember that he is not Fabrizio, as I observed his eyes viewing Clara and his body language also with too intimate a familiarity, as if to say “Just wait–I am not he tonight, but I will be...” One can hardly blame him. It must be very hard to back up from that generation of fervid emotion.

And, Mr. Burnham delivered a fine, visceral “Aiutami,” which is personally my favorite piece in the whole show. He has clearly worked on developing the inter-relations with his brother such that you buy the familial relationship.

The prayer hands were back in as the lead-in to “Love To Me,” which was fine.

In short, a very physical performance from David Burnham.

[wickedwitchofthechest]

Posted: 2/19/06 at 12:22am

'Tis quite a difficult task you've undertaken, Nomdeplume, but one which you have accomplished with definite panache.

Having only seen one Fabrizio, the erstwhile Mr. Matt Morrison, I am, alas, unable to join in the comparing, but I am wildly happy to read a comparison.

A question, though. You speak of Mr. Burnham's "other role." I must have totally missed this. When and what is it?

[Unknown User]

Posted: 2/19/06 at 12:27am

an ensemble part, he works in the cafe where they sit and drink in a few scenes.

[nomdeplume]

Posted: 2/19/06 at 1:26am

Part III

The Spiritual

Ah, that eye-catching lead-in of the innocent soccer ball of boyhood, announcing with style the entrance of Matthew J. Morrison. Yet as he comes downstage, there is more. An immediate sense of “Who is this?” A grace in motion whispering athlete...sprinter...maybe dancer. Even when standing still he looks as though he is ready to move in the instant.

He sings his name and, after all, it is just a name, but so much has been communicated in those two words. He has already given himself to Clara. (Unfortunately, this did not make it onto the recorded CD.)

With “Il Mondo Era Vuoto” he takes his time and creates a sense of a unified whole, even with the interspersed scenes of acting. An elegantly building legato, giving himself entirely to the audience by the song’s end. But there is something more. A sense of being both inside and outside himself at once, of being outside himself laughing at himself as he hugs his father’s head to get his attention and pans absurd dance steps to his brother’s instruction. And my eye’s favorite part of the scene, his sudden exit across the stage, with the animal flash of a stag, antelope. No excess motion and great speed.

The leap over the bench is accomplished with grace and athleticism in “Passeggiata,” again delivered in a smooth legato, and never missing a note, including that funny little hop note while up on the bench. And it is in this scene that the years of dance training reveal themselves, not surprisingly in a waltz, as he weaves around Clara and escorts her around the stage with fine footwork.

The duet of “Say it Somehow” becomes an expression of creating a relationship of tender bonding. There is no demand or rush. Not so much sexual as spiritual. I always felt as if he and Clara were waiting for something, waiting to get married, waiting for the mother to come in, I don’t know what, but there was a holding back, a waiting, almost like a suspension in anticipation of an impending interconnection of great beauty, that kind of moment between two people when reality fades away into the universe of stars and galaxies, a place beyond time.

The brother-brother inter-relationship between Mr. Morrison and Mr. Berresse, hands down the best of the batch. Mr. Berresse is a tremendously strong actor with great presence who almost has had to tone himself down in the show so as not to upstage others in the cast. Mr. Morrison possesses a strength with sufficient weight to counter Berresse, even if with less experience.

Instead of in “Say it Somehow,” Matthew Morrison’s passion arrives in “Aiutami,” when he is separated from Clara, a lacerated anguish and sense of loss. Guts on the floor in his finest work of the piece. Starting that scene off with a fleet-footed run was a spark of directorial genius. I cannot say that Mr. Morrison is in any way not physical, he certainly is. Yet his work transcends the physical.

Matthew Morrison’s Fabrizio is, was, and will be, in one word, spiritual.

© 2006 All Rights Reserved nomdeplume by pseudonym


Updated On: 2/19/06 at 01:26 AM

[Phantom2]

Posted: 2/19/06 at 10:39am

This is utterly fascinating.

[nomdeplume]

Posted: 2/19/06 at 10:56am

Oh, you are not yourself today, phantycakes...

[nealb1]

Posted: 2/19/06 at 12:21pm

WOW! What a completey researched piece on 3 different interpretations of the role!

Well, if you think you can do it better, then why don't you audition for the role and then we can post on this website all your flaws!

How's that? Is that fair?

[notabb]

Posted: 2/19/06 at 12:39pm

I'd love to see David Burnham.Any idea when he'll be in again?

[nomdeplume]

Posted: 2/19/06 at 1:04pm

A post by nealb1:

re: Michael Crawford compared to other Phantoms
Posted On: 8/31/05 at 02:16 PM


You have to remember.........when "Phantom" first opened in London and then moved to NYC in January of 1988, it was THE event of the Broadway Season! "Phantom" opened in May of 1989 in LA and playing for 4 & 1/2 years. When Crawford did it in NYC & LA, it was Front Page News. This was long before the internet, e-mail, etc.....it was word of mouth and publicity that made MC the talk of the town.

I saw his performance in LA 3 times. The first time, I literally couldn't speak after seeing him. He was beyond extraordinary!!!! His presence, his aura, was spelling binding. No one had ever seen anything like this before!!! Truly one of the most amazing performances I've ever seen.

Having seen other actors perform the role, I would have to say that vocally Davis Gaines is the best. I've seen Hugh Panaro and he was very good. Acting......hands down, it's Crawford........and NO ONE ELSE!

[wickedwitchofthechest]

Posted: 2/19/06 at 1:47pm

Well, I'm with nealb1 on this one:

NOMDEPLUME FOR FABRIZIO!!!!

I believe our most wondrous nameless one would bring a definite sense of mystery to a role that may or may not need said mystery.

How's your Italian, nomdeplume?

(Not that this really matters. My biggest complaint after seeing The Light in the Piazza was that the Italian didn't sound very Italian. A small flaw in an otherwise wonderful show, so I'm inclined to let it go, but if you have some knowledge of Italian, then I'm all for letting you rush in, soccerball at the ready, and replace Aaron Lazar.)

[lvpblues]

Posted: 2/19/06 at 2:50pm

It's a fascinating deconstruction of the three different characterizations. On Aaron's behalf, I have to say that I've seen him do the part four times and each time, he did indeed have the soccer ball in the opening and did the leap over the bench. Also, the same exact staging applied when I saw David Burnham just this week.

I personally found much to enjoy in each performance: Morrison's poised romanticism, Aaron's vocal delivery and Burnham's bravado.

[Roninjoey]

Posted: 2/19/06 at 2:52pm

Hm, I may be crazy. I've seen Piazza twice and both times with Aaron Lazar. First back in September or October, I don't remember, second time a few weeks ago. I have a short memory so maybe I fabricated it but the soccer ball was in there both times I saw it. In fact, it was a detail I saw the second time and remembered being surprised by it the first time.

I also think I saw him hop the bench, but I'm not as positive as I am about the soccer ball.

You're right though, I noticed David Burnham checking Clara out last time I saw it, although I assumed he was merely checking her out. It was kind of funny.

I have never given Fabrizio mythic significance. Somewhat appropriate, either way, if a bit much for Clara. I always saw him as the young boy on the threshhold of becoming an adult, which is what Clara seems to him. The guy has a lot going on internally that the audience isn't privvy too because the lyrics are in Italian. I suppose that does give him a certain stature to us and Clara.

[Unknown User]

Posted: 2/19/06 at 2:59pm

maybe Aaron and David just suck at soccer whereas Matt wanted to pursue it for a living at one point in his life.

[nomdeplume]

Posted: 2/19/06 at 3:24pm

wickedwitchie,

Though I do not speak Italian, I once had to perform a role in a Chinese Beijing Opera and learn to sing it in Chinese, along with some tumbling and strange dance. I played a vigorous soldier one night and an old man with a beard the next.

Picking up a little Italian sounds like duck soup after that.

For my Fabrizio performance they would have to change the key, again.

And I would insist on cutting all the kissing. (Sorry, girls.)

But hey, this is not about me.

What of our three Fabrizios? Updated On: 2/19/06 at 03:24 PM

[wickedwitchofthechest]

Posted: 2/19/06 at 4:35pm

Nomdeplume, perhaps you could bring that beardedness to your interpretation of Fabrizio. (And, honestly, how many people in the audience will be able to tell Chinese from Italian? Sprinkle in a little French or Spanish, and no one will ever know.)

You do make a good point, Mistress_Spouzic. Personally, I would rather have the soccer ball cut, symbolically important though it may be, than have it fly in my face due to inexpert handling on the actor playing Fabrizio's part.

Perhaps they could replace it with a foosball table? Although, that may not be historically accurate. A tetherball might be a safe option, though. It's definitely not hitting any audience member in the eye, though those sharing the stage with it may have to beware.

[MrBungee7]

Posted: 2/19/06 at 7:09pm

Incorrect. I saw Lazar back in October and the soccer ball was undoubtedly there. I thought he was much more talented (and attractive) than you give him credit for. Actually, his performance of the role was my favorite.

[nomdeplume]

Posted: 2/19/06 at 9:39pm

Easy to see Aaron Lazar has a fan in MrBungee7. New Year's Eve does not occur in October, however.

The audience enjoyed the performance of all three Fabrizios.

My impressions are subjective.

Perhaps odiferous.
Updated On: 2/19/06 at 09:39 PM

[CurtainPullDowner]

Posted: 2/20/06 at 12:31am

I say
Burnham is
the sexiest
Lazar does it justice
Morrison
does not do it for me

[Roninjoey]

Posted: 2/20/06 at 12:48am

I think these reviews of the Fabrizios are not so full of vitriol. I like Lazar okay but I think Morrison has breezier top notes. I have never heard Burnham. The soccer ball was there. And if a person can't tell Chinese from Italian, I'm worried about them.

[nomdeplume]

Posted: 2/20/06 at 1:39am

Hey, whaddya mean, Roninjoey? No vitriol? A body'll get a reputation if you keep that up.

That Morrison comparison was full of vitriol, like when I said he didn't have as much experience as Berresse. He will likely be in therapy for six months to get over that one. I'm sure BWW will pick up the tab.

And as for the Chinese vs. Italian, you know Americans. If you're going to sing in a foreign language, it's like, all Greek.

I saw Lazar from orchestra stage right and Burnham from orchestra stage left and was paying close attention to their entrances. If there was a soccer ball in either show it never made it to my range of vision and I was looking for it. I saw it without any difficulty many times previous from seats all over the house and it was always very utilized and visible, including one memorable performance when the ball had a wild, partying, pinball machine entrance which an unsuspecting audience took for granted as routine...
Updated On: 2/20/06 at 01:39 AM

[Roninjoey]

Posted: 2/20/06 at 1:56am

Hah, well, who knows? Perhaps sometimes the prop doesn't get placed.

I think Matt will either be okay, or will be able to handle the bill himself :P

But remember America's passion for stereotyping. They'll immediately know the difference when the people either start going "Foo wong chuey, shaSHA shooo? You want fwy wice? Soy sawce?" or "Pizzeria, buonjuorno! Its'a spicy meatball!"

[wickedrentq]

Posted: 2/20/06 at 4:00am

Then what happens if someone is singing about Italian food in the Chinese language, or about Chinese food in the Italian language?

[Roninjoey]

Posted: 2/20/06 at 4:27am

Well... Chinese for spicy meatball probably doesn't sound like "That's a spicy meatball!"