#51
Posted: 3/30/12 at 9:17am
^interesting, BDN, but I've even noticed the trend with revivals. Follies, Porgy and Bess, and even On A Clear Day were all much stronger in Act 2.
* * *
"How's Matt's dancing?"
He gets an A for stamina - no small feat when you consider that he doesn't look, not to put too fine a point on it, exactly athletic these days. He moves adorably in a limited goofy way which is perfect for the aging, sweet do-nothing billionaire playboy character and his branded Broderick deadpan take on the role, which, as I said before, many of us have had enough of to last a lifetime, shockingly works - once the book cooperates with him, which it does so much more in the second act (as it does all around for all concerned).
Whatever he is doing movement wise, he's relaxed, in the moment, in character and making it work.
And he sings very well, probably better than I've ever heard him (although his first strains of Sweet and Low Down, top of Act One, were a bit shaky).
He is so much better, more relaxed, genuine and genuinely charming in this show than he was in his tony winning paint-by-numbers take on Finch (meh!), that it would be a shame if he didn't at least get a Tony nod. But as Whizzer has said, it will all depend on the competition.
I couldn't agree more with Whizzer, that what Judy Kaye does in that luncheon scene is stellar. It alone is worth the price of admission.
* * *
I wouldn't in a million years say that Marshall has outdone herself. Her Anything Goes is a masterpiece.
* * *
"How's Matt's dancing?"
He gets an A for stamina - no small feat when you consider that he doesn't look, not to put too fine a point on it, exactly athletic these days. He moves adorably in a limited goofy way which is perfect for the aging, sweet do-nothing billionaire playboy character and his branded Broderick deadpan take on the role, which, as I said before, many of us have had enough of to last a lifetime, shockingly works - once the book cooperates with him, which it does so much more in the second act (as it does all around for all concerned).
Whatever he is doing movement wise, he's relaxed, in the moment, in character and making it work.
And he sings very well, probably better than I've ever heard him (although his first strains of Sweet and Low Down, top of Act One, were a bit shaky).
He is so much better, more relaxed, genuine and genuinely charming in this show than he was in his tony winning paint-by-numbers take on Finch (meh!), that it would be a shame if he didn't at least get a Tony nod. But as Whizzer has said, it will all depend on the competition.
I couldn't agree more with Whizzer, that what Judy Kaye does in that luncheon scene is stellar. It alone is worth the price of admission.
* * *
I wouldn't in a million years say that Marshall has outdone herself. Her Anything Goes is a masterpiece.
Updated On: 3/30/12 at 09:17 AM
