#1
Posted: 11/15/08 at 11:47pm
When leaving Roundabout's revival of PAL JOEY, one can't help but wonder (after the years of workshops and readings that eventually led to this staging) how what is on the stage in it's present form came to pass.
In terms of areas of success, the women are quite fabulous.
Stockard Channing's Vera is still rough around the edges, but she should be in fine form by the opening. Her singing clunks along in the first act (though her version of "Bewitched, Bothered, and Bewildered" took on a more raw meaning in it's semi-spoken poignancy,) but she sounds much better in the second. Her acting is marvelous throughout, so much so that it more than justifies what may be lacking in her voice. She certainly has the worldly aire of sophistication that exudes from Vera in spades, and she looks absolutely stunning, particularly in the sheer dress she wears during her first entrance.
Jenny Fellner is delightful as Linda English. Having seen her previously in the Jenn Gambatese role in ALL SHOOK UP a couple years ago, it's remarkable how sophisticated she comes off on stage after playing such young ingenue characters so recently (she was also Sophie in MAMMA MIA!, says her bio.) Though her voice tended to float away on some of the higher parts of the score, she was solid for the majority of the time.
The true star of the show, though, is Martha Plimpton as Gladys. There really is nothing this woman cannot do, and to watch her absolutely trounce everyone in her path (both in terms of voice and presence) opposite such esteemed veterans knowing this is her first musical is truly astonishing. She is so good, though, that is raises curiosity as to why she took such a limited role. She only gets to really shine in "Zip" (she's sort of hampered by the plethora of showgirls in "That Terrific Rainbow,") but my does she nail it with delightful tenacity and bravado. Every time she'd leave the stage, things never seemed to pick up quite so gleefully as they did when she was present.
Unfortunately, even as good as the women are, they still can't surpass the dud that is Christian Hoff. For a role so 'beguiled' for it's ability to showcase a true triple threat, Joe Mantello and the creative team seem to have cast someone who doesn't particularly thrive in any of the three disciplines.
Hoff nails the snide and conceited charm that is requisite for Joey Evans, but that's about it. His singing is dreadful (only exaggerated by his awful "enunciation") and his dancing is almost non-existent. His acting isn't nearly as bad, but he certainly doesn't have the stage presence of a true leading man. How he continuously participated in numerous developmental incarnations and still made it through to the end is beyond me. Someone like Tony Yazbeck or Michael Berresse would have been leagues better. I would hope that he will improve over the preview period, but considering he has been so extensively involved with the project, I don't see there being much of a change.
Scott Pask's sleek scene design aptly fits the darker tone highlighted by Richard Greenberg's updated book, and William Ivey Long's costumes are stunning. Graciela Daniele's choreography is quite sufficient in the group numbers in the club, but it is still perplexing as to how she has allotted for almost nothing for her leading man (most likely, one can surmise, because of his lack of ability.)
Overall, PAL JOEY is an enjoyable night for it's terrific trio of leading ladies, but for a show with such promise, it's a shame that the production only flutters when it could have soared.
In terms of areas of success, the women are quite fabulous.
Stockard Channing's Vera is still rough around the edges, but she should be in fine form by the opening. Her singing clunks along in the first act (though her version of "Bewitched, Bothered, and Bewildered" took on a more raw meaning in it's semi-spoken poignancy,) but she sounds much better in the second. Her acting is marvelous throughout, so much so that it more than justifies what may be lacking in her voice. She certainly has the worldly aire of sophistication that exudes from Vera in spades, and she looks absolutely stunning, particularly in the sheer dress she wears during her first entrance.
Jenny Fellner is delightful as Linda English. Having seen her previously in the Jenn Gambatese role in ALL SHOOK UP a couple years ago, it's remarkable how sophisticated she comes off on stage after playing such young ingenue characters so recently (she was also Sophie in MAMMA MIA!, says her bio.) Though her voice tended to float away on some of the higher parts of the score, she was solid for the majority of the time.
The true star of the show, though, is Martha Plimpton as Gladys. There really is nothing this woman cannot do, and to watch her absolutely trounce everyone in her path (both in terms of voice and presence) opposite such esteemed veterans knowing this is her first musical is truly astonishing. She is so good, though, that is raises curiosity as to why she took such a limited role. She only gets to really shine in "Zip" (she's sort of hampered by the plethora of showgirls in "That Terrific Rainbow,") but my does she nail it with delightful tenacity and bravado. Every time she'd leave the stage, things never seemed to pick up quite so gleefully as they did when she was present.
Unfortunately, even as good as the women are, they still can't surpass the dud that is Christian Hoff. For a role so 'beguiled' for it's ability to showcase a true triple threat, Joe Mantello and the creative team seem to have cast someone who doesn't particularly thrive in any of the three disciplines.
Hoff nails the snide and conceited charm that is requisite for Joey Evans, but that's about it. His singing is dreadful (only exaggerated by his awful "enunciation") and his dancing is almost non-existent. His acting isn't nearly as bad, but he certainly doesn't have the stage presence of a true leading man. How he continuously participated in numerous developmental incarnations and still made it through to the end is beyond me. Someone like Tony Yazbeck or Michael Berresse would have been leagues better. I would hope that he will improve over the preview period, but considering he has been so extensively involved with the project, I don't see there being much of a change.
Scott Pask's sleek scene design aptly fits the darker tone highlighted by Richard Greenberg's updated book, and William Ivey Long's costumes are stunning. Graciela Daniele's choreography is quite sufficient in the group numbers in the club, but it is still perplexing as to how she has allotted for almost nothing for her leading man (most likely, one can surmise, because of his lack of ability.)
Overall, PAL JOEY is an enjoyable night for it's terrific trio of leading ladies, but for a show with such promise, it's a shame that the production only flutters when it could have soared.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Tony Kushner: You can sing it at my funeral.
Updated On: 11/16/08 at 11:47 PM
