#1
Posted: 2/17/05 at 12:36am
I am very happy to say that I just returned home from seeing this show, and the future of musical theatre no longer looks as dim as it did when I returned from BROOKLYN last night. It doesn't look dim at all with DIRTY ROTTEN SCOUNDRELS now on the boards.
You know when you're scanning down the list of producers and see the likes of Florenz Ziegfeld and The Entire Prussian Army listed above the title that his show doesn't take itself seriously and is all about making the audience laugh. This show is in no way my ideal Broadway musical - I tend to enjoy more serious, dramatic works - but DRS sucked me in right from the opening number. Instead of writing a formal review, I'm going to go down the list of different elements and performers.
John Lithgow - He floats around the stage with such an air or royalty and sopistication that you know you're in the presence of a real pro. He speaks with such dignity and assurance that no matter what words are coming out of his mouth, it makes you want to listen. He has perfect comic timing and amazing chemistry with everyone on stage, particularly Norbert Leo Butz. His singing isn't all that impressive, but ne never tries very hard to be a singer - he executes his songs with the perfect amount of dry humor and slyness that the actual quality of his voice is secondary. He evokes memories of, most notably, Rex Harrison - such a cool, composed sophistication that literally is like music to your ears. As far as his raw acting, there's no point in questioning or critiquing whether he can or cannot act - he's made it quite apparant to recent theatregoers that he is an absolutely brilliantly solid actor. Granted, it's not the most difficult part to play, and his material is so solid and true that it would truly take a horrendous actor to make it not work. I give him my highest marks and praise and cannot wait to see his name listed as one of the five nominees come May - because it will (there's still SPAMALOT, though) be there. He really is perfection.
Norbert Leo Butz - Wow, I never thought that this guy had it in him to be a powerful, successful leading Broadway man. I have always been a fan of his voice, but this is his best work yet. From the very second he steps onto that stage, he makes it quite clear to the audience that from there on in, he will command the stage. Again, he is given such remarkably, brilliantly funny material I would only expect the best from him. He steals every scene he's in and continued to shock me in his comic ability. He truly is the greatest, funniest performer I have seen on stage since Jackie Hoffman in HAIRSPRAY 2 seasons ago. Everything he does is solidly hysterical and perfect. Even when he's not in the spotlight, if you let your eyes drift upstage to him, you will not be able to take them away. I seriously could go on all night about how absolutely perfect he is in this role - truly, truly amazing. I definitely have a new found respect for him, and for musical comedy actors. I have seen so many flawed, bad, and terrible musical comedy "actors" fall flat on their face while trying to be funny that when comparing them all to Norbert Leo Butz, he is like royalty - a new musical theatre God. I may sound overly dramatic about him in this show, but I assure you that he is everything I've said he is and more. He will make you want to return to the show again and again, I promise you that. Norbert will absolutely score a nomination for this amazing performance, and I firmly believe that he will win the award as well.
Sherie Rene Scott - It is so great to see her onstage again, especially reunited with Norbert. She comes into the show very late in Act One, but catches up with the rest very quickly. I was very unsure about her when she first entered, but when she gets rolling she doesn't stop - and just gets better and better. Her initial material isn't as funny as the rest of the characters, but when it is - she soars. She's absolutely hysterical, and it's so nice to see her amazing chemistry with Norbert again - even if it is in a less "romantic" setting. She certainly is a first-rate performer, and never disappoints.
Joanna Gleason - Wow, does this woman look hot for her age! It is so reassuring to see her onstage again...this is the first time I've seen her perform since INTO THE WOODS. I was very pleased to see that her entrance was greeted with a nice round of applause, save for the guy beside me who subsequently read her bio in the Playbill. She is very under-used in Act One, but that's only because she has such a gleaming presence - the part isn't at all underwritten. It isn't really until Act Two that she has her greatest moments in the show - which are brilliantly hysterical. She is so talented and perfect in this show, but I can't help but wish she had more to do.
Gregory Jbara - Very funny, very enjoyable, obviously talented. I don't have much to say about him as he was a very supporting role - but he provided some great moments and again, it's great to see him back onstage.
The score - It's so energetic, bright, new and fresh. It evokes certain sounds similar to THE FULL MONTY, but it's a completely different genre. It is so refreshing to hear such a great new score on Broadway - something I thought wouldn't come along this season after the mind-boggling scores of DRACULA, BROOKLYN, and LITTLE WOMEN. David Yazbek has surely made a successful, triumphant comeback to Broadway, and from the Overture on, every single musical number is crisp and solid, and just soaring. I would say it's the best, most solid score to appear since HAIRSPRAY - and it's very comforting to know that there are still composers out there who can actually succeed brilliantly with completely new material. The lyrics are wonderfully witty and hysterical, and actually fully service the plot and characters in the most satisying manner - again, something Broadway hasn't seen in a long, long time.
The book - Just wonderful, I don't have one criticism about this book at all. Nothing is said that doesn't need to be said, and they never try to be funny without completely succeeding. I was not surprised to see that Jeffrey Lane hasn't written for the stage before - I don't think I have ever seen such successful comic writing on Broadway before. It's not as if the show is funny in spots - it's hysterical nearly the entire two hours and 45 minutes - and it never gets tired.
The direction - It's Jack O'Brien. I don't think I need to say anything else....he's the master of his craft.
The set is decent - very nice to look at. However, everything is very flat and "traditional" - and I'm sure looks much better from farther back. I was in the front row, so didn't have the advantage of seeing the set as it should be seen from a different perspective.
The choreography is decent as well. It's not Jerry Mitchell's best work, but it's surely not his worst. This show just doesn't require large dance numbers, although there are a couple, the choreography is rather pedestrian and cliched, but it works just fine.
It really is so comforting to see something this great back on Broadway, and to see a real comedy again. I have been so disappointed lately with what some consider "comedy" on Broadway, that I had basically lost hope in ever enjoying something lighthearted and fun again - but DRS has absolutely nixed my hesitations and has provided me with a new respect and admiration for the art form - yes, art form - that is musical comedy.
****line spoiler****
My favorite line in the show:
"The Bush's from Tex
were nervous wrecks
because their son was dim...
but look what happened to him!"
And that's only the beginning...
You know when you're scanning down the list of producers and see the likes of Florenz Ziegfeld and The Entire Prussian Army listed above the title that his show doesn't take itself seriously and is all about making the audience laugh. This show is in no way my ideal Broadway musical - I tend to enjoy more serious, dramatic works - but DRS sucked me in right from the opening number. Instead of writing a formal review, I'm going to go down the list of different elements and performers.
John Lithgow - He floats around the stage with such an air or royalty and sopistication that you know you're in the presence of a real pro. He speaks with such dignity and assurance that no matter what words are coming out of his mouth, it makes you want to listen. He has perfect comic timing and amazing chemistry with everyone on stage, particularly Norbert Leo Butz. His singing isn't all that impressive, but ne never tries very hard to be a singer - he executes his songs with the perfect amount of dry humor and slyness that the actual quality of his voice is secondary. He evokes memories of, most notably, Rex Harrison - such a cool, composed sophistication that literally is like music to your ears. As far as his raw acting, there's no point in questioning or critiquing whether he can or cannot act - he's made it quite apparant to recent theatregoers that he is an absolutely brilliantly solid actor. Granted, it's not the most difficult part to play, and his material is so solid and true that it would truly take a horrendous actor to make it not work. I give him my highest marks and praise and cannot wait to see his name listed as one of the five nominees come May - because it will (there's still SPAMALOT, though) be there. He really is perfection.
Norbert Leo Butz - Wow, I never thought that this guy had it in him to be a powerful, successful leading Broadway man. I have always been a fan of his voice, but this is his best work yet. From the very second he steps onto that stage, he makes it quite clear to the audience that from there on in, he will command the stage. Again, he is given such remarkably, brilliantly funny material I would only expect the best from him. He steals every scene he's in and continued to shock me in his comic ability. He truly is the greatest, funniest performer I have seen on stage since Jackie Hoffman in HAIRSPRAY 2 seasons ago. Everything he does is solidly hysterical and perfect. Even when he's not in the spotlight, if you let your eyes drift upstage to him, you will not be able to take them away. I seriously could go on all night about how absolutely perfect he is in this role - truly, truly amazing. I definitely have a new found respect for him, and for musical comedy actors. I have seen so many flawed, bad, and terrible musical comedy "actors" fall flat on their face while trying to be funny that when comparing them all to Norbert Leo Butz, he is like royalty - a new musical theatre God. I may sound overly dramatic about him in this show, but I assure you that he is everything I've said he is and more. He will make you want to return to the show again and again, I promise you that. Norbert will absolutely score a nomination for this amazing performance, and I firmly believe that he will win the award as well.
Sherie Rene Scott - It is so great to see her onstage again, especially reunited with Norbert. She comes into the show very late in Act One, but catches up with the rest very quickly. I was very unsure about her when she first entered, but when she gets rolling she doesn't stop - and just gets better and better. Her initial material isn't as funny as the rest of the characters, but when it is - she soars. She's absolutely hysterical, and it's so nice to see her amazing chemistry with Norbert again - even if it is in a less "romantic" setting. She certainly is a first-rate performer, and never disappoints.
Joanna Gleason - Wow, does this woman look hot for her age! It is so reassuring to see her onstage again...this is the first time I've seen her perform since INTO THE WOODS. I was very pleased to see that her entrance was greeted with a nice round of applause, save for the guy beside me who subsequently read her bio in the Playbill. She is very under-used in Act One, but that's only because she has such a gleaming presence - the part isn't at all underwritten. It isn't really until Act Two that she has her greatest moments in the show - which are brilliantly hysterical. She is so talented and perfect in this show, but I can't help but wish she had more to do.
Gregory Jbara - Very funny, very enjoyable, obviously talented. I don't have much to say about him as he was a very supporting role - but he provided some great moments and again, it's great to see him back onstage.
The score - It's so energetic, bright, new and fresh. It evokes certain sounds similar to THE FULL MONTY, but it's a completely different genre. It is so refreshing to hear such a great new score on Broadway - something I thought wouldn't come along this season after the mind-boggling scores of DRACULA, BROOKLYN, and LITTLE WOMEN. David Yazbek has surely made a successful, triumphant comeback to Broadway, and from the Overture on, every single musical number is crisp and solid, and just soaring. I would say it's the best, most solid score to appear since HAIRSPRAY - and it's very comforting to know that there are still composers out there who can actually succeed brilliantly with completely new material. The lyrics are wonderfully witty and hysterical, and actually fully service the plot and characters in the most satisying manner - again, something Broadway hasn't seen in a long, long time.
The book - Just wonderful, I don't have one criticism about this book at all. Nothing is said that doesn't need to be said, and they never try to be funny without completely succeeding. I was not surprised to see that Jeffrey Lane hasn't written for the stage before - I don't think I have ever seen such successful comic writing on Broadway before. It's not as if the show is funny in spots - it's hysterical nearly the entire two hours and 45 minutes - and it never gets tired.
The direction - It's Jack O'Brien. I don't think I need to say anything else....he's the master of his craft.
The set is decent - very nice to look at. However, everything is very flat and "traditional" - and I'm sure looks much better from farther back. I was in the front row, so didn't have the advantage of seeing the set as it should be seen from a different perspective.
The choreography is decent as well. It's not Jerry Mitchell's best work, but it's surely not his worst. This show just doesn't require large dance numbers, although there are a couple, the choreography is rather pedestrian and cliched, but it works just fine.
It really is so comforting to see something this great back on Broadway, and to see a real comedy again. I have been so disappointed lately with what some consider "comedy" on Broadway, that I had basically lost hope in ever enjoying something lighthearted and fun again - but DRS has absolutely nixed my hesitations and has provided me with a new respect and admiration for the art form - yes, art form - that is musical comedy.
****line spoiler****
My favorite line in the show:
"The Bush's from Tex
were nervous wrecks
because their son was dim...
but look what happened to him!"
And that's only the beginning...
"If you are going to do something, do it well. And leave something witchy."
-Charlie Manson
). 
