Broadway Legend Joined: 2/17/04
I think her being a "Vera" in most people's minds has only to do with her (brilliant) portrayal of Maryann on CYBIL.
Let us remember that at the time, no one though Lansbury particularly well-suited for the role of MAME before it opened ... one of the producers, upon hearing her being suggested, said "Isn't she the one who plays everyone's mother?" And certainly based on her film output to that point, especially having just completed the ultimate bitch role in THE MANCHURIAN CANDIDATE, Lansbury's persona was regarded as far from warm. (Even though that was the lady real life.)
MAME, and the MURDER SHE WROTE, are what made her warm and gentle in the public's eye. Clearly, I think the same is possible with Baranski.
I'll be seeing it on June 10, MB, I'll let you know who's right!
Updated On: 5/30/06 at 04:42 PM
Well, I'm glad to hear such positive this already. Hope it is a hit!
Swing Joined: 5/29/06
I saw it...It was more than I expected in every way possible...superb.
Music director was James Moore, who obviously loved what he was doing. He beamed all the way through the overture and entr'acte.
Orchestra of 22 was awesome. As a musical director myself, I was in awe.
If these reviews are any indication, we may be seeing this on Broadway soon. This may be too soon to ask, but for those who have seen it, what theatre would this work in that is, or soon to be, empty (there are alot).
i'm seeing it soon b/c i'll be working with eric shaffer on the overtures program in about 2 weeks. glad it's good! i can't wait to see it!
If this moves to Broadway, it won't have that glorious not-for-profit funding - i.e no way we'll get a 22 piece orchestra! Bravo for all of you who get to enjoy that in DC!
All one has to do is view the HOUSE OF BLUE LEAVES video to be reminded that Baranski can take control of a stage like few others. She'll probably be a Mame to be reckoned with!
Swing Joined: 5/29/06
OK. I swore I wasn't going to do this, but here's my review.
The look of the show is fabulous. The set design is smart and beautiful to look at. The stair case is actually like a member of the cast.
The costumes evoke a Broadway of a bygone era. The sparkle, they shimmer, they move gracefully, and they transport us to a very wonderful land that only exists in films or onstage. Vera's costume for The Man in the Moon number is as beautiful and funny as anything I've ever seen onstage.
The orchestra and music direction was extraordinarly crisp and exciting and played with evident joy.
Joyous is the exact word I would apply the dancing. It's amazing to see something look so fresh and at the same time pay homage to the Black Bottom, Charleston, Cakewalk, and Lindy Hop.
The ensemble are all triple threats. It sounds like a choir of fifty onstage. And to be able to produce those glorious tones while doing complex dances and maintaining character is remarkable achievement.
I went to the show thinking Baranski would be a better Vera, but she made me forget Lansbury and Russell in about 5 minutes. I've darn near memorized some of those lines from Mame, but she made me feel like I was hearing them for the first time. She plays Mame as a sophisticate with a withering wit, but able to give her heart completely and fully at a moment's notice. There are times when she is like a lioness protecting a cub.
Baranski has a pleasant singing voice, but it lacks a bit of definition on the brighter songs. I believe part of my opinion on this was shaped by some sound difficulties that are probably resolved by now (I saw the second preview). Her ballads were beautiful.
It was good to see a Mame who could really dance. However, some of what I saw looked a little tentative. Nothing a few performances won't cure.
My only complaint with Baranski was that she never stopped wearing the same blunt cut blond wig. Mame needs to change her hair like she changes her apartment furnishings.
Harriet Harris is a Vera Charles to cherish. Like one of Bacchus's wives, she imbibes with elan and knows how to hold us all with one glance.
How good it is to see two professionals bring to their lines a comic timing reminiscent of good old days of Benny, Lombard, Loy, and Powell. Just listening to Baranski say Ito's name as if she is in a Martial Arts movie is a scream.
Jeff McCarthy is dutifully handsome and charming as Beau. And Max von Essen and Harrison Chad both serve the role of Patrick well.
One of the biggest laugh getters of the evening was Mary Stout as Mother Burnside. Her first line brought gales of laughter and people applauded everything she did. Then she has a tender little moment when she takes Mame's hand and gives it to Beau, with her blessing during the big number. It's a small detail, but one that reminds us that when professionals do their jobs well, they make us experience all sorts of unexpected emotion.
I have always loved Emily Skinner and I have to say that she gives the role of Gooch her all. But she seems a bit miscast in this production. She is a consumate professional playing Gooch as a very real person. The thing is, everyone else is so delightfully and believably askew, her serious approach does not quite gel and as a result, the second act slows a bit. Gooch deserves to be as wonderfully wacky as Mame and Vera. After all, she is as much of a mother to Patrick as either one of the others. But when the three of them are together, Gooch seems to be a very secondary character. Her song is sung well by Skinner, but the joy that permeates the other songs seems absent here and the laughs are perfunctory.
The other supporting cast members each make their merry contributions and the evening absolutely delights. The curtain call was a gem and the standing ovation well deserved.
Old Broadway is back looking fresh and new and better than ever.
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