LaCageFans: GREY GARDENS Review

[LaCageAuxFollesFan2]

Posted: 10/24/06 at 10:23am

GREY GARDENS Review

https://nycriticscorner.broadwayworld.com/greygardens.htm

"Grey Gardens" is a new musical with old fashioned qualities and has a cast that plays unforgettable characters. Unfortunately the forgettable reigns far superior here; as the shows score by Michael Korie and Scott Frankel, passable and at times height-hitting, does not reach the standard being set by other composers and lyricists in today's American Musical Theatre. And while the characters portrayed by the uber talented folk on stage are memorable, the disjointed book hurts any actors chance at pure brilliance. What could be and should be the most moving and artsy production of the Broadway season so far, turns out to be a half-baked, bland, and wrong type of thought provoking evening at the Walter Kerr theatre. But Alas, all is not lost!

For every upside, "Grey Gardens" has an equal if not greater downward turn. This is indeed a half hearted attempt to bring a story, so steeped in riches to the musical theatre stage, that one begins to wonder if this is really where this garden should be taking root. More aptly suited for a straight play with music than a full scale musical, the creative team, at the plays end, gives the shows leading lady an all encompassing finale with "Another Winter in a Summer Town." The payoff, while sung with great vigor by Christine Ebersole as daughter, seems nothing more than a sorry attempt to wrap up an already misguided retelling by Doug Wright. Wright seems to do his best at cheating the audience out of the stories most tender of moments throughout.

At first listen, Korie and Frankel seem to have created some of the most uninspiring melodies since "Caroline or Change," But just hang on one second and some of the lyrics are actually thought provoking, and the story may have a deeper meaning than all the surface level gloss. The inner layer, that unfortunately does not happen until Act Two, is where the combination of Korie & Frankel's music and Wright's book really begin to mesh and venture into more than mediocrity.

Unfortunately, today's Broadway going audience is not interested in such middling material and tourists would rather spend an evening with a jukebox and get their art fill from MOMA! With two specific exceptions, the talented cast of Broadway vets only give ordinary, middle of the road performances. Matt Cavenaugh (with an awful Kennedy accent), Erin Davie, and an extremely wasted John McMartin do nothing to heighten their already poorly written and unneeded characters. On the other hand, Christine Ebersole would be in a league of her own in this particular production if it were not for Mary Louise Wilson. Ebersole plays old Edie Bouvier Beale in act One and Wilson gets to tackle the role in act two as Ebersole then becomes young Edie. They both have a vocal presence of angels during her songs. Both also have the general physicality's of their characters down to a perfect science. The fact that Ebersole and Wilson come across so good here is true testament to them as individual performers; they add layers to these characters that are not even demanded of them by the creative team with fortitude and enduring passion from beginning to end.

Set and lighting designers Allen Moyer and Peter Kaczorowski find a nice accord and balance filling the Walter Kerr stage; Director Michael Greif of "Rent" fame also does a commendable job with the less than memorable material he has been given. . Tony winner, William Ivy Long who always costumes to precise perfection, continues his award worthy work this season with "Gardens" and with other shows at the same time like "Regrets Only".

If only the taste in the entire garden were as sweet as "The Sound of Music," maybe the regret wouldn't be so large and this garden would continue to re-fertilize itself year after year. But when compared to likes of Andrew Lloyd Webber, Stephen Sondheim, or Jerry Herman, the score of "Grey Gardens" grows nowhere until the very end, and only then gets the chance to take root. The vision in a musical staging by Pulitzer winning Wright needs to be more than middle-of-the-road theatre storytelling for a story this unique. While it is nice to have a true and honest book musical on the boards again, there is better out there. And being so early in the season, popularity will trump second rate art, (with the exception of Wilson and Ebersole's first rate powerhouse performances) and in this case that's okay!

Updated On: 10/24/06 at 10:23 AM

[once a month]

Posted: 10/24/06 at 10:58am

I, for one, am happy I saw this and consider it a wonderful character study. After seeing Ebersole in Camelot (with Burtain), the Sondheim murder mystery and 42nd Street, I felt this play was her meatiest role yet, possibly of her lifetime. I also loved Wilson in Cabaret, and was unexpectedly moved by these nutty women. I was astounded how close the portrayals were to the documentary, which I just watched the evening before. I agree about the secondary cast...just wallpaper. I think that was intended to make the leads stand out even more. This show has limited appeal, except to the fanatics and regular theatre-philes. It's different, and I thought Grey Gardens as provoking as when I enjoyed Sideshow, Here Lies Jenny. A Man of No Importance (musicals out of the mainstream sort of).

Oh...and I thought it funny that the main staircase always slid noisily onto the stage after the lights had come up and after the scene started. It happened twice, but I'm sure they fixed that technical glitch since that's what previews are for (and what was with those four tacky oval flower prints?).

[Auggie27]

Posted: 10/24/06 at 11:34am

Curious, taking the composer to task for not being up to the standards of those in "today's" musical theater, and then mentioning Sondheim, Herman, Lloyd Webber. Those gents are more representative of earlier eras, two of whom are well over 70. ("Woman in White" was last season, yes, butno one's definition of a primo example of 'today.')

If this music didn't land for you, I respect that. Yet we are more often than not overwhelmed with juke box scores, pastiche, pop-infusion, and a smattering of revivals of work by the gents you mention. I was happy to hear Frankel's freshness and ambition. Any man who can turn out "Daddy's Girl" (act one) and "Jerry Likes My Corn" (act two) gets my vote.

[LaCageAuxFollesFan2]

Posted: 10/24/06 at 12:07pm

"This show has limited appeal, except to the fanatics and regular theatre-philes. It's different, and I thought Grey Gardens as provoking as when I enjoyed Sideshow, Here Lies Jenny. A Man of No Importance"

I do agree that this show has limited appeal, and is right up the ally of theatre geeks. Much in the same way as Sideshow & Here Lies Jenny weren't brilliant theatre, there was something in them that was special. The same is true for GG, but to a lesser degree of this production and greater degree of the 2 performances, IMHO. And I guess I could chalk this type of theatre up to a learning and educating experience, just not A+ theatre IMHO, but so little is anymore - and thats whats upsetting to me.

And Auggie, I respect your opinion as well...no, the score didn't land for me till "Another Winter in a Summer Town" - that song, in the show, was awe inspiring to me. And like I said in the review, "some of the lyrics are actually thought provoking, and the story may have a deeper meaning than all the surface level gloss." But for me it was a just a little too late. That first act is a mess story wise and while ambitious, completely misguided for me and a huge fan of the film.

[jrb_actor]

Posted: 10/24/06 at 12:38pm

How can you review the show before it's frozen and critics are invited?

Who is Koriewhile? Michael Korie wrote the lyrics.

And, to each his own--I think the score rocks. I think the book is great.

[notabb]

Posted: 10/24/06 at 12:43pm

Luckily, there is a cd with most of the score for people to hear. I urge you to give it a listen. I think you'll find yourself loving it as much as I did. Great show with a beautiful score. Both acts are wonderful

[SueleenGay]

Posted: 10/24/06 at 12:57pm

You might have a bit more credibility if you could get the composer's names right.

[uncageg]

Posted: 10/24/06 at 1:26pm

I have only listened to the CD. I am aware that some of the songs (especially in the 1st act) on the CD are no longer in the show. But I don't see how you can compare this to COC. They are both different. While I prefer COC over Grey Gardens, I look forward to seeing the show and having visuals to accompany the music. Especially for the 1st act. As for the second act, I have seen the documentary and, even through the score, I can visualize whats going on. I think they did a very good job. But COC, uninspired melodies? We are all entitled to our opinions.

[RentBoy86]

Posted: 10/24/06 at 3:25pm

Well CoC isn't a lyrical, melodic show. Most of the dialogue is sung, and isn't meant to have this memorable melody that lasts with you for days. But occasionally there are a few. Look at "I Hate The Bus" and I love all of Dot's parts.

I just rented the documentary of Grey Gardens today at the library. I can't wait to watch it tonight. The picture on the cover is so creepy.

[FoscasBohemianDream]

Posted: 10/24/06 at 4:01pm

Though I disagree with your opinion of the show I think your review is very thorough and respect your thoughts.
I actually find the score of Grey Gardens quite compelling and haunting. Yes, the songs in the first act are mediocre at times; as a matter of fact, to me Act I is misconceived simply because I think a more pivotal event during the Beales should've been picked for a first act. However, "Five-Fifteen" remains a very well-constructed number, "Will You?" is beautifully performed by Ebersole, and "Daddy's Girl" provides Erin Davie with a great chance to give the audience great insight on Little Edie.
I am a big fan of the film and Act II captures the documentary's atmosphere effectively. "The Revolutionary Costume for Today" is a showstopper, it is a number you can actually picture Little Edie performing for us. "Around the World" and "Another Winter In A Summer Town" are such haunting numbers. I believe Ebersole's performance is flawless but the material allows her to explore all the different sides of Little Edie. I don't think we could see such a perfect performance if the material wasn't strong to begin with.
Yes, the show is flawed, whoever hired Grief as the director should not have trusted him with the material, one can only wonder what the genius of Hal Prince or Tommy Tune could've done with this musical. However, I think Grey Gardens shouldn't be missed, it features an adequate score in Act I, a devine score in Act II, and probably the most impressive performance on a Broadway musical since Victoria Clark opened The Light in the Piazza.

[LaCageAuxFollesFan2]

Posted: 10/24/06 at 4:13pm

I apologize for the misspelling of Mister Korie's last name. My fault, and I have since corrected the spellings.

I knew my dislike of the show wasn't popular opinion, but Act 1 to me is a complete failure. And Davie to me was as bland as they come on stage.

I liked "The Revolutionary Costume for Today" number, but why use the cast members from act 1? That seemed very cheep to me. Don't get me wrong, on one hand I was happy they had something more to me, because they all seemed rather wasted to me. I expected it to be perfect, and aside from 2 fantastic performances, I got blah. The same way I felt after seeing COC & LITTLE WOMEN. Again, JMHO.

[FoscasBohemianDream]

Posted: 10/24/06 at 4:21pm

Well, to me the use of the same actors in both acts was a theatrical way to comment on Little Edie's line (probably my favorite in the documentary): "It's very difficult to keep the
line between the past and the present. You know what I mean? It's awfully difficult." This is what Grey Gardens is about, the past and the present merging together and that's why I think the same actors are in both acts (this is my personal interpretation, perhaps you are right and they are just cheap).
I found Davie's performance to be good, not great or out of the world, but good. I believe her shortcomings have a lot to do with the material she is given because she truly shines with the better numbers like "Daddy's Girl."

[jrb_actor]

Posted: 10/24/06 at 4:22pm

Again: you have reviewed the show before it is frozen and critics are invited. There are still rewrites being made. Is it possible your opinion wouldn't change? Of course. But, if you intend to be a professional critic some day, you need to understand that reviewing a show as early as you have is absolutely wrong-minded and is a disservice to the process of mounting a production, particularly a new work.

Your opinions are fine, but you are presenting this as a review and that's my gripe.

[jv92]

Posted: 10/24/06 at 4:56pm

I really disagree with the comments made about the score. I love the Grey Gardens score. The music is simply wonderful and the lyrics are brimming with wit. I know that sounds like a really good press clipping, but it's true. It's a damn good score.

[Ciaron McCarthy]

Posted: 10/24/06 at 5:04pm

La Cage did you see the documentary?

[SueleenGay]

Posted: 10/24/06 at 5:08pm

Good God! Hal Prince or Tommy Tune? Thank heaven they didn't get their hands on it. I can just see the intricate chorus numbers Tune would concoct and some silly gimmick of Prince's. Not having seen the production I can't comment on Grief's direction, but I cannot imagine Tune or Prince doing the subtle work that this piece deserves.

[Rathnait62]

Posted: 10/24/06 at 5:09pm

Well, Sue, if you think NEVER GONNA DANCE was well-directed...

[SueleenGay]

Posted: 10/24/06 at 5:14pm

I didn't say Grief was a good director. I was just imaging what Tune and Prince would do to this show. And it is not a pretty thought.

[Rathnait62]

Posted: 10/24/06 at 5:17pm

Oh good. Okay.

[Ciaron McCarthy]

Posted: 10/24/06 at 6:21pm

Wait are you saying Hal Prince is not a good directot or that he is unable to direct a smaller show?

[FoscasBohemianDream]

Posted: 10/24/06 at 7:13pm

Actually I think Tommy Tune could've done something brilliant with this show specifically because of his treatment of stream-of-consciousness in Nine. I know both shows have absolutely nothing in common, but Tune's originality would've suit Grey Gardens in my opinion.
Hal Prince could've probably done wonders with the show if he had used an approach similar to Follies.

[LaCageAuxFollesFan2]

Posted: 10/24/06 at 11:04pm

Yes Ciaron, I did see the documentary, and enjoyed it much much more than the stage version.

[MasterLcZ]

Posted: 10/24/06 at 11:46pm

The most interesting thing to me so far in my times in seeing the Broadway show (saw it twice already and one more on Friday) were the people around me last week who never saw the documentary - one woman never knew it existed. They just came because they heard about Ebersole's great performance.

And they loved the show - not just Christines performance.

[VeuveClicquot]

Posted: 10/25/06 at 2:16am

""Grey Gardens" is a new musical with old fashioned qualities and has a cast that plays unforgettable characters. Unfortunately the forgettable reigns far superior here; as the shows score by Michael Korie and Scott Frankel, passable and at times height-hitting, does not reach the standard being set by other composers and lyricists in today's American Musical Theatre. And while the characters portrayed by the uber talented folk on stage are memorable, the disjointed book hurts any actors chance at pure brilliance. What could be and should be the most moving and artsy production of the Broadway season so far, turns out to be a half-baked, bland, and wrong type of thought provoking evening at the Walter Kerr theatre. But Alas, all is not lost!

For every upside, "Grey Gardens" has an equal if not greater downward turn. This is indeed a half hearted attempt to bring a story, so steeped in riches to the musical theatre stage, that one begins to wonder if this is really where this garden should be taking root. More aptly suited for a straight play with music than a full scale musical, the creative team, at the plays end, gives the shows leading lady an all encompassing finale with "Another Winter in a Summer Town." The payoff, while sung with great vigor by Christine Ebersole as daughter, seems pnothing more than a sorry attempt to wrap up an already misguided retelling by Doug Wright. Wright seems to do his best at cheating the audience out of the stories most tender of moments throughout. "

Okay, JRB, haven't I said the exact same thing for months now?

Apparently, I'm not the only one who feels this way. "Touche" indeed.

[songplugger]

Posted: 10/25/06 at 7:23am

Yes, dear, you've been whining and fretting about it for months.


Updated On: 10/25/06 at 07:23 AM