#1
Posted: 9/13/09 at 1:58pm
I attended the preview matinee of LITTLE HOUSE ON THE PRAIRIE, the musical, at Jersey's Papermill Playhouse yesterday. The capacity crowd was nearly 50% children, all anxious to see Melissa Gilbert "on stage and in person!" The book by Rachel Sheinkin is short on laughs and is apparently more faithful to the source material (LITTLE HOUSE books by Laura Ingalls Wilder)
than the popular TV series. However, it is overlong with a first act running a full 90 minutes. The rambling nature of the narrative and continual passage of time is confusing and uninteresting. The music is by oscar winner Rachel Portman. While there are many beautiful melodies (endlessly reprised in ACT 2) there is a lack of a genuine show stopping song. There is a moving anthem for Mary and Laura but it is unfortunately titled: I'LL BE YOUR EYES. The cinematic orchestrations are by Larry Hochman (10 players in the pit).
The audience responded favorably to a big First Act chorale for the entire company titled UP AHEAD. Big response to I CAN ROCK (Laura and the school children), FOURTH OF JULY (a dance number), and FIRE IN THE KITCHEN (a dance number led by Melissa Gilbert). Funny enough, the show stopping moment in the show is the full out danced curtain call. The crowd stomped and clapped along to the bouncy music. (Dance/incidental music by Michael E. Dansicker). The energetic choreography is by Michele Lynch, and the production is directed seamlessly (without blackouts or mechanized scenery) by Francesca Zambello. Sets, lights, and costumes are all first rate, and the show is many notches above the standard Papermill physical production.
The cast (especially Kara Lindsay as Laura, Alessa Neeck as Mary, and Carly Rose Sonenclar as Carrie) all sing very well. The kids in the audience loved Kate Loprest's "over the top" performance as Nellie and Kevin Massey's Almanzo. However, the audience was there to see Melissa Gilbert, and she could do no wrong. Even her Act 2 musical number WILD CHILD ( a very dull ballad) was greeted warmly by the house. And while Steve Blanchard (PA) has none of the warmth of Michael Landon's landmark characterization, his solid performance and singing voice help tremendously. Obviously, LITTLE HOUSE is a beloved property and has a built-in following. The children in the audience were attentive and well behaved and with some careful editing and sharpening; the show could have a NY life after its' National Tour. The crowd at the Stage Door was enormous.
than the popular TV series. However, it is overlong with a first act running a full 90 minutes. The rambling nature of the narrative and continual passage of time is confusing and uninteresting. The music is by oscar winner Rachel Portman. While there are many beautiful melodies (endlessly reprised in ACT 2) there is a lack of a genuine show stopping song. There is a moving anthem for Mary and Laura but it is unfortunately titled: I'LL BE YOUR EYES. The cinematic orchestrations are by Larry Hochman (10 players in the pit).
The audience responded favorably to a big First Act chorale for the entire company titled UP AHEAD. Big response to I CAN ROCK (Laura and the school children), FOURTH OF JULY (a dance number), and FIRE IN THE KITCHEN (a dance number led by Melissa Gilbert). Funny enough, the show stopping moment in the show is the full out danced curtain call. The crowd stomped and clapped along to the bouncy music. (Dance/incidental music by Michael E. Dansicker). The energetic choreography is by Michele Lynch, and the production is directed seamlessly (without blackouts or mechanized scenery) by Francesca Zambello. Sets, lights, and costumes are all first rate, and the show is many notches above the standard Papermill physical production.
The cast (especially Kara Lindsay as Laura, Alessa Neeck as Mary, and Carly Rose Sonenclar as Carrie) all sing very well. The kids in the audience loved Kate Loprest's "over the top" performance as Nellie and Kevin Massey's Almanzo. However, the audience was there to see Melissa Gilbert, and she could do no wrong. Even her Act 2 musical number WILD CHILD ( a very dull ballad) was greeted warmly by the house. And while Steve Blanchard (PA) has none of the warmth of Michael Landon's landmark characterization, his solid performance and singing voice help tremendously. Obviously, LITTLE HOUSE is a beloved property and has a built-in following. The children in the audience were attentive and well behaved and with some careful editing and sharpening; the show could have a NY life after its' National Tour. The crowd at the Stage Door was enormous.
