#1
Posted: 4/6/05 at 7:15pm
April 5, 2005
The Scoundrels may in fact have a contender - at least so far as my humble, personal opinion goes. This show isn't perfect, because hardly any show is, but its very solid and beautiful.
The sets are stunning, with such attention to detail. They monstrous size could just as well make them the real thing in Italy, and make excellent use of the Beaumont's huge stage and unusually shaped house. You don't only see realistic exteriors of buildings - there are shadows that mimic reality and decorative touches added throughout the interiors. It's probably most unique that Piazza's sets aren't huge for the sake of being big and flashy, but to create a place and transport the audience there - the truer purpose, after all, of set design.
This score needs to be recorded. Guttel's score is stunning; there's not a dull moment or number, and none of the songs feel like filler or forced necessity. The arrangements are full and beautiful, with a perfect mix of Italian opera-style and character-driven, plot-enforcing music.
Lucas' book is very strong, which is a rarity and a pleasure. He has a way with wit, and I picked up a few instances of the twisted humor I found in Reckless - for example, when the father says Fabrizio will just kill himself, it's not funny that his love may drive him to suicide, yet we laugh because of where it's placed and how it's said. With the humor also come many moments of almost poetic beauty and raw emotion.
Going into this viewing it as a musical rather than an opera, per se made for a bit of surprise at first with the lack of dance, but it's certainly not needed. In fact, the only place I could see it working would be in the scene where Clara goes out at midnight and finds herself in some shady situations, but that seems far too cliche... too much like a dream ballet sort of idea. The show works just fine without any dancing, I just found it sort of odd until I got used to the type of show that it is.
The actors are working with a remarkable love story. It's not an unusual one, but the twist of Clara's problem adds something more heart-wrenching to it than simply having a story of love that's forbidden by an unhappy mother. The two lovers grow together and learn so much from each other; it's best showen when Fabrizio's English gets better and Clara learns Italian, but the language symbolizes so much more - it stands for everything they share together. Clara gains independence and real-life knowledge about herself from Fabrizio's love and its consequences, especially those that transpire between Clara and her mother.
The story is finely told, too. THe writing is strong, and it's only strengthened by the cast. They give portrayals of the characters for whom we are forced to feel. These characters feel like people, not like entities that start and end with the show. I felt frustration when Margaret wouldn't allow her daughter to see Fabrizio - not just sad for the lovers, but genuinely, truly frustrated. I wanted to shake Margaret and make her let them be together, and force her to open her eyes and see that maybe this was a good thing for her daughter. It's rare for characters to be so excellently developed, it seems. It's a wonderfully present surprise to care for characters, and to feel like they have lives outside of the two and a half hours for which you get to know them.
Matt Morrison is believable from his first second on stage. This show is a far better vehicle for him than Hairspray was; he is extremely talented. His innocence as someone who is purely in love is radiant, and his anguish when he loses it is equally painful. His portrayal of Fabrizio as eager, willing and hopelessly romantic is difficult not to fall for. His voice floored me. I had no idea he could sing like that (neither did he, he said!) but this is one of the best voices I've heard in a while. I was stunned by his versatility, and had chills when he sang "Il Mondo Era Vuoto." A pleasant plus was the bedroom scene. In all seriousness, it coud've been far more explicit, and it was pretty tastefully done, but Matt's a nice looking guy.
I had forgotten that Sarah Uriarte Berry could sing opera. I was kind of like "YAY! Taboo alum!" and forgot the rest of her previous roles. This was totally different from Niccola, but she was fiesty, bitchy and anger-inducing, though it was difficult to totally hate her, as Franca does have something of a softer side, too. I wish she'd had a bigger part, though.
Kelli O'Hara has an INCREDIBLE voice. Her acting is great - she makes Clara curious and childlike as she should be, but she isn't a complete invalid. Even though childish, she has an impressively keen perception of things in the world around her, even if she can't fully understand them. Although her acting is fine, and she'll probably get a Tony nomination, I didn't think it was good enough for a win. Perhaps her fantastic vocals can help, though.
Victoria Clark's best moments are her monologues the the audience. Her performance is radiant, and she has enormous presence, even when she was simply speaking to the audience, and the scene froze around her.
I have to cut this short, but a lot of people are waiting on it, so I guess I'll post. Go see this show. It's a limited run, and none of you should miss it!
A work of art is an invitation to love.
The Scoundrels may in fact have a contender - at least so far as my humble, personal opinion goes. This show isn't perfect, because hardly any show is, but its very solid and beautiful.
The sets are stunning, with such attention to detail. They monstrous size could just as well make them the real thing in Italy, and make excellent use of the Beaumont's huge stage and unusually shaped house. You don't only see realistic exteriors of buildings - there are shadows that mimic reality and decorative touches added throughout the interiors. It's probably most unique that Piazza's sets aren't huge for the sake of being big and flashy, but to create a place and transport the audience there - the truer purpose, after all, of set design.
This score needs to be recorded. Guttel's score is stunning; there's not a dull moment or number, and none of the songs feel like filler or forced necessity. The arrangements are full and beautiful, with a perfect mix of Italian opera-style and character-driven, plot-enforcing music.
Lucas' book is very strong, which is a rarity and a pleasure. He has a way with wit, and I picked up a few instances of the twisted humor I found in Reckless - for example, when the father says Fabrizio will just kill himself, it's not funny that his love may drive him to suicide, yet we laugh because of where it's placed and how it's said. With the humor also come many moments of almost poetic beauty and raw emotion.
Going into this viewing it as a musical rather than an opera, per se made for a bit of surprise at first with the lack of dance, but it's certainly not needed. In fact, the only place I could see it working would be in the scene where Clara goes out at midnight and finds herself in some shady situations, but that seems far too cliche... too much like a dream ballet sort of idea. The show works just fine without any dancing, I just found it sort of odd until I got used to the type of show that it is.
The actors are working with a remarkable love story. It's not an unusual one, but the twist of Clara's problem adds something more heart-wrenching to it than simply having a story of love that's forbidden by an unhappy mother. The two lovers grow together and learn so much from each other; it's best showen when Fabrizio's English gets better and Clara learns Italian, but the language symbolizes so much more - it stands for everything they share together. Clara gains independence and real-life knowledge about herself from Fabrizio's love and its consequences, especially those that transpire between Clara and her mother.
The story is finely told, too. THe writing is strong, and it's only strengthened by the cast. They give portrayals of the characters for whom we are forced to feel. These characters feel like people, not like entities that start and end with the show. I felt frustration when Margaret wouldn't allow her daughter to see Fabrizio - not just sad for the lovers, but genuinely, truly frustrated. I wanted to shake Margaret and make her let them be together, and force her to open her eyes and see that maybe this was a good thing for her daughter. It's rare for characters to be so excellently developed, it seems. It's a wonderfully present surprise to care for characters, and to feel like they have lives outside of the two and a half hours for which you get to know them.
Matt Morrison is believable from his first second on stage. This show is a far better vehicle for him than Hairspray was; he is extremely talented. His innocence as someone who is purely in love is radiant, and his anguish when he loses it is equally painful. His portrayal of Fabrizio as eager, willing and hopelessly romantic is difficult not to fall for. His voice floored me. I had no idea he could sing like that (neither did he, he said!) but this is one of the best voices I've heard in a while. I was stunned by his versatility, and had chills when he sang "Il Mondo Era Vuoto." A pleasant plus was the bedroom scene. In all seriousness, it coud've been far more explicit, and it was pretty tastefully done, but Matt's a nice looking guy.
I had forgotten that Sarah Uriarte Berry could sing opera. I was kind of like "YAY! Taboo alum!" and forgot the rest of her previous roles. This was totally different from Niccola, but she was fiesty, bitchy and anger-inducing, though it was difficult to totally hate her, as Franca does have something of a softer side, too. I wish she'd had a bigger part, though.
Kelli O'Hara has an INCREDIBLE voice. Her acting is great - she makes Clara curious and childlike as she should be, but she isn't a complete invalid. Even though childish, she has an impressively keen perception of things in the world around her, even if she can't fully understand them. Although her acting is fine, and she'll probably get a Tony nomination, I didn't think it was good enough for a win. Perhaps her fantastic vocals can help, though.
Victoria Clark's best moments are her monologues the the audience. Her performance is radiant, and she has enormous presence, even when she was simply speaking to the audience, and the scene froze around her.
I have to cut this short, but a lot of people are waiting on it, so I guess I'll post. Go see this show. It's a limited run, and none of you should miss it!
). 
