#1
Posted: 4/3/05 at 12:45pm
Of all the musicals to open this year, "Dessa Rose" had the most going for it. It was written by the exceedingly talented team of Stephen Flaherty and Lynn Ahrens, who gave us "Ragtime" and "A Man of No Importance". The cast features such heavy-hitters as LaChanze, Rachel York, Norm Lewis, and Michael Hayden. The production itseld, running at Lincoln Center's Mitzi E. Newhouse Theatre, is directed by the brilliant Graciela Daniele. The fact that it has so much talent behind it is probably why this sub-par show is the season's biggest letdown.
The convoluted narrative, based on the acclaimed novel by Sherley Anne Williams, takes place in the antebellum South. Dessa Rose (LaChanze), a slave, has been arrested and sentenced to be executed. Her story, like the musical itself, is told in flashback form, to Adam (Mr. Hayden), a writer. Dessa was impregnated by another slave. She breaks free and seeks asylum on the farm of Ruth (Ms. York), a fallen society girl who secretly hides slaves on the farm that she shared with her husband, who has flown the coop. Ruth begins an affair with another slave, Nathan (Mr. Lewis).
I was very dissapointed with the performance given by LaChanze. In the past, she has proven herself an inept interpreter of Ahrens and Flaherty music, earning herself a Tony nomination for "Once on This Island" and originating the role of Sarah in workshops and pre-Broadway runs of "Ragtime". She became pregnant and had to forego originating Sarah on Broadway, but returned to the show as Audra McDonald's replacement.
I didn't feel her heart in the show. She sings great, but her acting was really quite dull. Simply put, I wasn't moved.
Ms. York, on the other hand, is a revelation. A gorgeous woman with a voice that can move mountains, this show once again proves that she can belt with the best of them. Her showstopping number, "At the Glen," is the highlight of the evening.
Mr. Lewis again proves to be one of the best baritones in New York. He exudes sexual energy as the the forbidden lover of his white mistress, and again proves that his acting chops are as good as his singing voice.
Mr. Hayden makes the best of a poorly written role.
Mr. Flaherty's music is beautiful, and most of Ms. Ahrens' lyrics are up to snuff. It's her wooden book that sinks the show. Was Terrence McNally, the duo's frequent collaberator, busy? Could the not find another playwright of equal talent to fill in? Who knows.
"Dessa Rose" is not a total waste. I would gladly go running to see it again before I would even walk by a billboard of "Good Vibrations" or "Brooklyn". But, in the same token, it left me surprisingly cold. I wanted to love it. I had to settle for "not a total waste".
The convoluted narrative, based on the acclaimed novel by Sherley Anne Williams, takes place in the antebellum South. Dessa Rose (LaChanze), a slave, has been arrested and sentenced to be executed. Her story, like the musical itself, is told in flashback form, to Adam (Mr. Hayden), a writer. Dessa was impregnated by another slave. She breaks free and seeks asylum on the farm of Ruth (Ms. York), a fallen society girl who secretly hides slaves on the farm that she shared with her husband, who has flown the coop. Ruth begins an affair with another slave, Nathan (Mr. Lewis).
I was very dissapointed with the performance given by LaChanze. In the past, she has proven herself an inept interpreter of Ahrens and Flaherty music, earning herself a Tony nomination for "Once on This Island" and originating the role of Sarah in workshops and pre-Broadway runs of "Ragtime". She became pregnant and had to forego originating Sarah on Broadway, but returned to the show as Audra McDonald's replacement.
I didn't feel her heart in the show. She sings great, but her acting was really quite dull. Simply put, I wasn't moved.
Ms. York, on the other hand, is a revelation. A gorgeous woman with a voice that can move mountains, this show once again proves that she can belt with the best of them. Her showstopping number, "At the Glen," is the highlight of the evening.
Mr. Lewis again proves to be one of the best baritones in New York. He exudes sexual energy as the the forbidden lover of his white mistress, and again proves that his acting chops are as good as his singing voice.
Mr. Hayden makes the best of a poorly written role.
Mr. Flaherty's music is beautiful, and most of Ms. Ahrens' lyrics are up to snuff. It's her wooden book that sinks the show. Was Terrence McNally, the duo's frequent collaberator, busy? Could the not find another playwright of equal talent to fill in? Who knows.
"Dessa Rose" is not a total waste. I would gladly go running to see it again before I would even walk by a billboard of "Good Vibrations" or "Brooklyn". But, in the same token, it left me surprisingly cold. I wanted to love it. I had to settle for "not a total waste".
As you saw, I basically felt similarly.
