#1
Posted: 4/24/05 at 1:26am
I was apprehensive about seeing this so soon because I wanted to give her ankle some more time, but I was too curious so I went tonight.
Can I just say that I have never seen a more enthusiastic and supportive audience? From the second Applegate ran onto the stage people started cheering and screaming. The end of every one of her numbers was met with thunderous applause and cheering, and "If My Friends Could See Me Now" was a mini-showstopper. I was really happy for her - the entire audience - including myself - seems to be on her side. As soon as the scenery parted at curtain call and she ran forward, the ENTIRE orchestra and what I could see of the mezz stood up as if on command. Even the old people, who normally don't stand. It was crazy - it was as if people were ejected forcibly from their seats. I've never seen an audience reaction like that before - not even for the biggest divas and stars. She seemed to be really humbled by it and appeared to be tearing up, almost as if she couldn't believe it. My heart definitely went out to her.
Okay, sorry - now on to the actual show:
I have never seen a production of CHARITY before, and I only knew a few songs going into the show so I was basically a virgin. So obviously, CHARITY isn't the strongest of shows - it depends solely on it's usually funny book, it's excellent score, and it's leading lady. Overall, I really enjoyed this production. It certainly isn't as gritty or sexual as I've heard the original was - but it never claimed to be the original, or any previous incarnation of the show. In fact, to be sure that everyone knew what they were in for, their poster and logo design (that has been around for months before the production started) has a bubble-gum, sugar sweet feel to it. So if you go into this CHARITY expecting anything other than sugary-sweet, not only are you sadly mistaken, but you also must be blind.
Compare it all you want to the original, and compare Cilento's choreography all you want to Fosse's legendary choreography - but it's utterly pointless. What's the point of reviving a show if it "should" always be done the same way? Absolutely nothing. Clearly, Cilento's choreography isn't nearly as innovative and brilliant as Fosse's - it doesn't even come close - but that's not what it's about. I was glad to see a new take on the Fosse standards, and I don't see why anyone shouldn't be. It is Cilento's best work thus far, after his abominable work in AIDA and WICKED, so I must applaud him for that. Some of it seems Fosse-derived, but he never copies, which is appreciated. It's not what it could be - especially for Ms. Applegate - but it's just fine.
I found Denis O'Hare to be annoying and miscast. He wasn't the same as he was in ASSASSINS and TAKE ME OUT, but there were certainly similar elements there - which isn't always a problem but, in this case, it didn't work. I never believed for one second that he was in love with Charity and I saw nothing in him to make Charity fall in love with him. I was very disappointed - I expected better from him. Furthermore, he can't really sing. He gets by alright, but it's not pleasant. Whenever he was onstage, I found myself bored and zoning out. And that's too bad.
Janine LaManna was great as Nickie, and I have absolutely no complaints about her. Kyra Da Costa, however, was irritating. I didn't understand why she had to make her character so stereotypical, but she did, and she fails. Her singing and dancing are fine - but her acting and "attitude" was unnecessary and not funny.
Paul Schoeffler was great and solid (for his small part,) and Ernie Sabella was fine as well.
And finally, Christina Applegate. I don't know what it is about her, but she totally won me over. I might be biased because I went in WANTING to love her, but I left with very positive thoughts. She's just a little bundle of energy the entire time. Her dancing (however unfortunately, repetitive choreography) is spot-on and just what you would expect for a leading lady in a show like this. Her acting was also, in my opinion, perfect. As an audience member, I fell in love with her, and she truly made me feel for Charity - something that can't be said for the rest of the cast. She was hysterical from top to bottom, and all of her choices were solid. The entire audience ate her up and seemed to enjoy her immensely. Her singing is the only questionable aspect of her performance. She is never once off-pitch (again, the same can't be said of O'Hare) but her voice has little to no strength. Although with a stronger voice she would be simply sensational, her voice didn't bother me. It isn't in any way "bad," she definitely knows how to work with what she has. Her voice is certainly better than some other Broadway performers in recent memory (Brooke Shields and Melanie Griffith come to mind,) but like others have said on this board, Verdon wasn't a singer. Neither was McLaine, Allen, or Reinking. But, all four of them have something Christina doesn't, and that is strength and confidence. She has the notes - that's clear - but if she just relaxed and let them go, she would sound no better or worse than Verdon or Reinking, etc. I hope she continues to grow into the part and I hope that, for her sake, she gets a little more confidence in her voice. I was surprised at how comfortable and at home she looked on stage - she looked like she was completely in her element and had been doing it all her life. It's unfortunate that her main credits in her bio are SURVIVING CHRISTMAS and ANCHORMAN - she deserves far better than that, and I'm totally a fan of hers now. As far as the Tony Awards go, she will definitely be nominated. I think at this point the award is between Clark and Applegate. If it were up to me, I would give Applegate the award hands down, no questions asked.
So yes - she has won me over, and I am rooting for her. I was among those standing and cheering for her at curtain call, and I will continue to do so all the way until and up through June 5th.
PS: I have officially had it with the MTA.
Can I just say that I have never seen a more enthusiastic and supportive audience? From the second Applegate ran onto the stage people started cheering and screaming. The end of every one of her numbers was met with thunderous applause and cheering, and "If My Friends Could See Me Now" was a mini-showstopper. I was really happy for her - the entire audience - including myself - seems to be on her side. As soon as the scenery parted at curtain call and she ran forward, the ENTIRE orchestra and what I could see of the mezz stood up as if on command. Even the old people, who normally don't stand. It was crazy - it was as if people were ejected forcibly from their seats. I've never seen an audience reaction like that before - not even for the biggest divas and stars. She seemed to be really humbled by it and appeared to be tearing up, almost as if she couldn't believe it. My heart definitely went out to her.
Okay, sorry - now on to the actual show:
I have never seen a production of CHARITY before, and I only knew a few songs going into the show so I was basically a virgin. So obviously, CHARITY isn't the strongest of shows - it depends solely on it's usually funny book, it's excellent score, and it's leading lady. Overall, I really enjoyed this production. It certainly isn't as gritty or sexual as I've heard the original was - but it never claimed to be the original, or any previous incarnation of the show. In fact, to be sure that everyone knew what they were in for, their poster and logo design (that has been around for months before the production started) has a bubble-gum, sugar sweet feel to it. So if you go into this CHARITY expecting anything other than sugary-sweet, not only are you sadly mistaken, but you also must be blind.
Compare it all you want to the original, and compare Cilento's choreography all you want to Fosse's legendary choreography - but it's utterly pointless. What's the point of reviving a show if it "should" always be done the same way? Absolutely nothing. Clearly, Cilento's choreography isn't nearly as innovative and brilliant as Fosse's - it doesn't even come close - but that's not what it's about. I was glad to see a new take on the Fosse standards, and I don't see why anyone shouldn't be. It is Cilento's best work thus far, after his abominable work in AIDA and WICKED, so I must applaud him for that. Some of it seems Fosse-derived, but he never copies, which is appreciated. It's not what it could be - especially for Ms. Applegate - but it's just fine.
I found Denis O'Hare to be annoying and miscast. He wasn't the same as he was in ASSASSINS and TAKE ME OUT, but there were certainly similar elements there - which isn't always a problem but, in this case, it didn't work. I never believed for one second that he was in love with Charity and I saw nothing in him to make Charity fall in love with him. I was very disappointed - I expected better from him. Furthermore, he can't really sing. He gets by alright, but it's not pleasant. Whenever he was onstage, I found myself bored and zoning out. And that's too bad.
Janine LaManna was great as Nickie, and I have absolutely no complaints about her. Kyra Da Costa, however, was irritating. I didn't understand why she had to make her character so stereotypical, but she did, and she fails. Her singing and dancing are fine - but her acting and "attitude" was unnecessary and not funny.
Paul Schoeffler was great and solid (for his small part,) and Ernie Sabella was fine as well.
And finally, Christina Applegate. I don't know what it is about her, but she totally won me over. I might be biased because I went in WANTING to love her, but I left with very positive thoughts. She's just a little bundle of energy the entire time. Her dancing (however unfortunately, repetitive choreography) is spot-on and just what you would expect for a leading lady in a show like this. Her acting was also, in my opinion, perfect. As an audience member, I fell in love with her, and she truly made me feel for Charity - something that can't be said for the rest of the cast. She was hysterical from top to bottom, and all of her choices were solid. The entire audience ate her up and seemed to enjoy her immensely. Her singing is the only questionable aspect of her performance. She is never once off-pitch (again, the same can't be said of O'Hare) but her voice has little to no strength. Although with a stronger voice she would be simply sensational, her voice didn't bother me. It isn't in any way "bad," she definitely knows how to work with what she has. Her voice is certainly better than some other Broadway performers in recent memory (Brooke Shields and Melanie Griffith come to mind,) but like others have said on this board, Verdon wasn't a singer. Neither was McLaine, Allen, or Reinking. But, all four of them have something Christina doesn't, and that is strength and confidence. She has the notes - that's clear - but if she just relaxed and let them go, she would sound no better or worse than Verdon or Reinking, etc. I hope she continues to grow into the part and I hope that, for her sake, she gets a little more confidence in her voice. I was surprised at how comfortable and at home she looked on stage - she looked like she was completely in her element and had been doing it all her life. It's unfortunate that her main credits in her bio are SURVIVING CHRISTMAS and ANCHORMAN - she deserves far better than that, and I'm totally a fan of hers now. As far as the Tony Awards go, she will definitely be nominated. I think at this point the award is between Clark and Applegate. If it were up to me, I would give Applegate the award hands down, no questions asked.
So yes - she has won me over, and I am rooting for her. I was among those standing and cheering for her at curtain call, and I will continue to do so all the way until and up through June 5th.
PS: I have officially had it with the MTA.
"If you are going to do something, do it well. And leave something witchy."
-Charlie Manson
That's such a bummer. I'll still see Charity but that makes me really sad because he's such a great actor and I love him.
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