#1
Posted: 4/7/05 at 2:42pm
This show is going to run a looooooooong time, and deservedly so. It was a complete delight from the moment the overture started, to the moment the curtain came down at the end.
The cast is uniformly good- I can't think of one weak link in the group. Raul Esparza is charming and a fine Caractacus. I saw it during its first week, and he looked like he was still working on some of the dancing (he kept dropping his cane in Me Ole Bamboo), but I'm sure that will get taken care of. I liked his Hushabye Mountain more than Michael Ball's (whose version you can listen to on the Chitty website). Erin Dilly is a great Truly Scrumptious. If for some reason we can't get Laura Michelle Kelly to play Mary Poppins over here, she'd be a fine replacement. I loved her voice. And she looks REALLY good in those costumes. Beautiful woman. The kids were great too, both managed to keep their accents consistent. Philip Bosco is no singer, but that's ok, because his songs aren't all that difficult. The song with the inventors was a lot of fun, and he sold it well.
All of the supporting players did a fine, fine job. I have loved Chip Zien since I saw the Into the Woods video (and thought he never got the acclaim he deserved for his Baker), and he didn't disappoint. Neither did his partner in crime Robert Sella. The two of them work really well together and feed off of each other. As do Marc Kudisch and Jane Maxwell- solid performances from both of them. They're both just such natural comedians. And you can tell they're having a great time and enjoy working with each other.
The revelation for me was Kevin Cahoon's Childcatcher. I have only ever seen him as Ed in Lion King years ago, so I was somewhat unaware of just how talented this man is. I had also read that the Childcatcher in this production was somewhat laughable and not at all scary. That certainly wasn't the case. He managed to scare me, so I can imagine how the little children in the audience felt! I'll not forget that "chiiiiiiiiildreeeeeeeeeeeeeeeen"...the way he said it freaked me out. He was booed (along with applause) during the curtain call, so I guess he did a fine job. I hope he gets nominated for Best Featured Actor, though that seems like it's shapng up to be a tough category this year, so who knows.
The score was infectious, and I'm still humming the songs almost a week later. Because most of it is not new, it will be ineligible for the Tony right? Or will they consider the new songs elibigible?
The book and story are kind of silly, but that's ok, because the whole thing is just so much fun.
Strangely, the choreography never really takes off. It's not terrible, and it's perfectly adequate, but it didn't wow me, like something done by Gillian Lynne should.
If nothing else, based on the other new shows I've seen, I would think Chitty has the Best Scenic Design Tony locked up. The physical production is very impressive, and that flying car does not disappoint. I was sitting in Row BB of the center orchestra, and at times the car was right over my head. Be warned though, that when it flies into the audience, if you're that close you'll be able to see the lift that makes it fly. However, when it's onstage, the lighting is done so well that you can't see the lift, and it's a magical moment that's very well done. Beyond the car, the rest of the set is equally impressive. I particularly loved how the Toymaker's shop was done. And also the sewers. As much as I loved that car, I loved the final exit for the Childcatcher even more.
Kudos also to the lighting and costume designers, who also should be honored with Tonys this year.
Director Adrian Noble manages to keep things moving along at a pretty quick pace, which is good because without good pacing, this thing could drag. The audience, made up of mostly children and families seemed entranced throughout the whole thing. If this audience was any indication, the show will get great word of mouth, as lots of people leaving were remarking, "We'll have to tell so and so to get tickets for their family."
Anyone heard any updates on a rush policy? I asked the man at the box office, but this was last Friday and all he said was, "there's going to be one, the producers just haven't worked it out yet." We can't wait to go back and see it again, and a rush policy would certainly increase the amount of return visits we made.
Also, is there going to be a Broadway cast recording, or should we just go ahead and buy the London one? I would love to have Raul Esparza on disc singing "Hushabye Mountain," but I have my doubts they'll make a Broadway recording.
The cast is uniformly good- I can't think of one weak link in the group. Raul Esparza is charming and a fine Caractacus. I saw it during its first week, and he looked like he was still working on some of the dancing (he kept dropping his cane in Me Ole Bamboo), but I'm sure that will get taken care of. I liked his Hushabye Mountain more than Michael Ball's (whose version you can listen to on the Chitty website). Erin Dilly is a great Truly Scrumptious. If for some reason we can't get Laura Michelle Kelly to play Mary Poppins over here, she'd be a fine replacement. I loved her voice. And she looks REALLY good in those costumes. Beautiful woman. The kids were great too, both managed to keep their accents consistent. Philip Bosco is no singer, but that's ok, because his songs aren't all that difficult. The song with the inventors was a lot of fun, and he sold it well.
All of the supporting players did a fine, fine job. I have loved Chip Zien since I saw the Into the Woods video (and thought he never got the acclaim he deserved for his Baker), and he didn't disappoint. Neither did his partner in crime Robert Sella. The two of them work really well together and feed off of each other. As do Marc Kudisch and Jane Maxwell- solid performances from both of them. They're both just such natural comedians. And you can tell they're having a great time and enjoy working with each other.
The revelation for me was Kevin Cahoon's Childcatcher. I have only ever seen him as Ed in Lion King years ago, so I was somewhat unaware of just how talented this man is. I had also read that the Childcatcher in this production was somewhat laughable and not at all scary. That certainly wasn't the case. He managed to scare me, so I can imagine how the little children in the audience felt! I'll not forget that "chiiiiiiiiildreeeeeeeeeeeeeeeen"...the way he said it freaked me out. He was booed (along with applause) during the curtain call, so I guess he did a fine job. I hope he gets nominated for Best Featured Actor, though that seems like it's shapng up to be a tough category this year, so who knows.
The score was infectious, and I'm still humming the songs almost a week later. Because most of it is not new, it will be ineligible for the Tony right? Or will they consider the new songs elibigible?
The book and story are kind of silly, but that's ok, because the whole thing is just so much fun.
Strangely, the choreography never really takes off. It's not terrible, and it's perfectly adequate, but it didn't wow me, like something done by Gillian Lynne should.
If nothing else, based on the other new shows I've seen, I would think Chitty has the Best Scenic Design Tony locked up. The physical production is very impressive, and that flying car does not disappoint. I was sitting in Row BB of the center orchestra, and at times the car was right over my head. Be warned though, that when it flies into the audience, if you're that close you'll be able to see the lift that makes it fly. However, when it's onstage, the lighting is done so well that you can't see the lift, and it's a magical moment that's very well done. Beyond the car, the rest of the set is equally impressive. I particularly loved how the Toymaker's shop was done. And also the sewers. As much as I loved that car, I loved the final exit for the Childcatcher even more.
Kudos also to the lighting and costume designers, who also should be honored with Tonys this year.
Director Adrian Noble manages to keep things moving along at a pretty quick pace, which is good because without good pacing, this thing could drag. The audience, made up of mostly children and families seemed entranced throughout the whole thing. If this audience was any indication, the show will get great word of mouth, as lots of people leaving were remarking, "We'll have to tell so and so to get tickets for their family."
Anyone heard any updates on a rush policy? I asked the man at the box office, but this was last Friday and all he said was, "there's going to be one, the producers just haven't worked it out yet." We can't wait to go back and see it again, and a rush policy would certainly increase the amount of return visits we made.
Also, is there going to be a Broadway cast recording, or should we just go ahead and buy the London one? I would love to have Raul Esparza on disc singing "Hushabye Mountain," but I have my doubts they'll make a Broadway recording.
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