Little Me @ Encores

I'm so giddy right now!! I love Encores so much. I firmly believe they consistently produce the best theater in New York. It's not even a competition with any other organization in the city. Little Me is up to their standards and then some.

Rachel York was wonderful tonight. Simply wonderful. The Other Side of the Tracks Reprise was a showstopper and her and Christian leading the ensemble in Deep Down Inside (one of my favorite musical numbers ever) was thrilling.

Christian Borle was a lot of fun, and if he was given a full preview period to find all the laughs he could absolutely lead a Broadway revival. For all the zany characters he gets to play I thought his Noble was the funniest.

The supporting cast, led by the ever incomparable Judy Kaye, was great and the ensemble could not have been more of a knockout, especially during the The Rich Kids' Rag.

I listen to both cast albums frequently so the real joy is hearing the riotous book that surrounds the score. I really think it ranks up there as one the funniest books for a musical, and it hasn't gotten creaky with age one bit.

Do NOT miss this!!!

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Now you have made me more anxious than ever to see this. I'll be there Saturday night. This will be my 3rd viewing--I saw the original way back in '64 in NY and in '65 at its tour openig in Rochester. Again, thanks for the praise. Now if this weekend's snow prediction will stay away, I'll get up there from DC! My seat is waiting for me.

I've only read, never seen, the original Simon book and while I'm only a so/so Simon fan, I agree it has got to be one of the funniest musical books.

Who did the choreography? I'm glad the Rag was great, though the Fosse original got such raves I always wish it had been a part of Fosse (the one number I have seen is the original staging of Down Inside from Ed Sullivan--brilliant.) Did I Got Your Number cause women to run up to the stage like Swen Swenson claimed it did when he originally did it? :P

Glad it's a good Encores production.

Wow, Finch! What do you remember about the original? How was Virginia Martin live? I love her on the OBCR. Who was in the tour?

Joshua Bergasse did the choreography and he did a great job. Not only was the Rag perfect, but I enjoyed what he did with Deep Down Inside and the men's reprise of Real Live Girl. Some very fun stuff with that one.

Yazbek was AWESOME with I've Got Your Number, both the song and extended dance. It's always nice to see him on stage.

Ed- This is a no brainer: GO!

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I saw the dress rehearsal Tuesday, and I thought it was simply wonderful. This was my first exposure to the show, and I had a fabulous time. I thought the whole cast was strong, but I had an especially big smile on my face every time the ensemble was onstage. It was a night of entertainment with little "flash": just an extremely solid book, catchy score, and wonderful performances. I'd highly recommend catching this one if you can.

2 hours 45 minutes last night

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I knew this show from the '82 revival & both American albums.

To pick up WhizzerMarvin's initial posting here, I too found myself GIDDY with this silly story. Harriet Harris was well-used here near the top of the show to help set the ZANY mood. The show is really an endlessly creative & wonderful throw-back to 50's-70's TV sketch comedy & that makes it all that much more richly rewarding.

High points for me were Rachel York (esp. in 'Poor Hollywood Star'(threads of Apple Tree's Passionella/'Wealth.') which allowed her rich purr-of-a-voice to pick up some of the scores strongest melodic beauty. She looks amazing in her Act 2 blonde movie star wig & as much as I thought they could have played up her bosom a bit & put her in higher heels - I trust that the best decisions were made. She's a tall gal & Bourne is not, so higher heels could have worked against them I guess?

I also loved the title song sung in Act 2 by Rachel & Judy Kaye. (Threads of Sweet Charity's 'Baby, Dream Your Dream') even though I'm not sure how I felt about David Garrison being thrown into their number for good measure?

The chorus, like so many former Fosse shows, seemed to have lots of fun things to do. The S.S. Gigantic was so over-the-top fun!

'Deep Down Inside' reminded me of Lil' Abner & musically of the Rankin-Bass stop-motion '74 kids show with Mr. Snow & Heat Miser. Christian Borle's bespectacled WW1 doughboy character reminded me of something Carol Burnett did in her old variety show days & in my book that is good. Christian's Mr. Pinchley character was right out of Anna Nicole Smith's story with The Simpson's Mr. Burns/Grandpa thrown in. I refer to all these comparisons in a good way because I feel they do add up to represent interesting American themes & archetypes whether we care to recognize them or not.

You can see a little 'Chicago' in Belle's whole prison/performer segment along w/the hilarious Buchsbaum Brothers racket (which like the Act 2's dying Prince routine, COULD almost be seen as anti-semitic in regard to stereotyping of Jews in show business & overemphasizing money/capital?)

On a weak note - I kinda missed that some of Borle's choices were a bit too naturalistic rather than broad. Martin Short, even though I didn't see him do the show, did seem to bring some out-there comic choices. (His "I Love You" sung with garbled over-sentimentality sounds hilarious on the album) & the 'Boom Boom' # by French night club entertainer Val du Val performed on the TONY'S that season seemed to carry the almost frantic stylings of say an Aldolpho in Drowsy Chaperone. Martin Shorts Tony-winning job w/this show clearly worked broader with Noble & Val du Val (which just makes for a bit of a detriment here.)

Other weak links for me were Tony Yazbeck's 'I've Got Your Number,' & Judy Kay's script reading. (She did try a couple times to be off book, but it quickly showed us all how it was much safer for her to just keep it there.)

First act ran so long I was thinking they were doing the show intermissionless. I know everyone & their friends love suggesting their opinion of what could be slightly changed so as to make the show better, but as it currently stands, I could see ending Act 1 with Real Live Girl solo & the boys going off to war & then picking up Act 2 (after the Entracte) with the soldiers Real Live Girl?

There is SO MUCH that is working here, no one should think twice about NOT attending this if they are capable of getting there. I loved the brassy & xylophone & harp rich orchestrations, the largess of it all, & the sheer craziness of the proceedings. Have fun!

Updated On: 2/6/14 at 03:00 PM

Interesting review on Talkin' Broadway was posted a few hours ago:

http://www.talkinbroadway.com/ob/2_06_14.html

I saw Virginia Martin do it 3 times and she was wonderful, as she had been in How to Succeed the year before. Unfortunately, Young Belle, as the show is written, has the least opportunity to stop the show -- her part isn't bad, but the men, Older Belle and George Musgrove have more of a chance to stop the show cold in its tracks, which they inevitably do. Martin went on to do some television work but, as far as I know, no further Broadway. A shame -- hers was a great talent. And she was a VERY nice person.

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I attended Friday night. It was my first exposure to the piece. In general I thought it was wonderful, not to be missed.

Loved it in spite of looking at my watch toward the end. 20 minutes too long. Lost interest when the prince showed up at the casino. That being said strong performances from Rachel York, Christian Borle, Judy Kaye, Harriet Harris and the singer dancers. The choreography was excellent. The direction intelligent andflowing.Didn't love the Bucksbaum Brothers. I thought there applause was just polite. I still highly recommend that everyone go. Another great Encores Production overall. It's not Encore's fault the book is 20 minutes too long.

With regards to Forgetmenot's theory about Anti-Semitism in the show:

Neil Simon is Jewish.
Sid Ceasar is Jewish.
Carolyn Leigh was Jewish.
Cy Coleman was Jewish.

So.....

The Prince Czerny bits are still funny, but (like the central framing device with Patrick Dennis) no longer work PRECISELY like they were supposed to, because the thing they are parodying is mostly forgotten.

Prince Czerny of Rosensweig is a spoof of the "Graustarkian novel," a popular genre of fiction from the late 1800s to the 1950s or 1960s. The stories of these novels were of royal intrigue and drama in fictional Eastern European countries. Mistaken identities, bankrupt kingdoms, dying monarchs and scheming prime ministers made up some of the standard tropes and cliches of the genre. The end of the Czerny bit, in which (SPOILER) Belle accidentally-on-purpose poisons the suddenly-recovered Prince (/SPOILER) parodies the way a devious underling was often responsible for the waning health of ruler and kingdom alike.

Other than "The Prisoner of Zenda," not many Graustarkian stories are remembered today.