REVIEWS: BERNARDA ALBA & THE PAJAMA GAME (added), RUDE fans

[BSoBW3]

Posted: 3/9/06 at 12:02am

[Bernarda Alba review below]

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The Pajama Game (Revival)
March 8, 2006 - Matinée

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The Pajama Game
Is the game we’re in
And we’re proud to be
In the Pajama Game
We love it
We can hardly wait to wake
And get to work at eight
Nothing's quite the same as the Pajama Game

[Understudy: Poopsie = Amber Stone]

First off, to get a few adjectives out of the way. Great! Grand! Fabulous! Enjoyable! Energetic! Fresh! Exciting! A look at the old time musical!

By now, everyone and their mother know The Pajama Game. It’s done all over the country in community theatre and schools. A production that wants to be on Broadway should, therefore, be something that we’ve never seen from this show. Unfortunately, this production is nothing more than another production of The Pajama Game. However, with a Broadway style budget and a beyond talented cast, who really cares? Theatre should be fun – and this production is just that. An exciting 2 and one-half hours!

And, while I would not jump into a pool of acid, I would not say that Marshall’s choreography is better than Fosse’s. But I will say that her direction of the show is inspired by the aforementioned legend, but also given a nice little modern-day kick. “Steam Heat” was a sexy and “Hernando’s Hideaway” preserved its sultriness with an added batch of comedy. And I do mean comedy! In this one scene, Megan Lawrence (as Gladys) successfully stole the show right out from underneath Harry Connick, Jr.’s pajama bottoms (yeah, only the bottoms).

With that, the entire cast was sensational. Just completely having fun up onstage, and letting the audience get carried away with the energy and comedy. As leading man, however Harry Connick, Jr. is a bit boring onstage. Very emotionally stiff. And not even the vivacious Kelli O’Hara – in what is going to be her acting-turn – can liven him up. Although, I should say, that I have never had so much fun as I did watching the two duet in “There Once Was a Man.” During this number, it was like watching a completely different Harry. Special note to Joyce Chittick, who did a phenomenal job as the female in “Steam Heat.”

In all, if you want to have fun – get into The Pajama Game!





Bernarda Alba
March 8, 2006 - Evening

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You may shut the world out
You may bolt every door
You may lock us all behind your prison walls
You may scorn my advice
And my wanting to know
But who will you turn to
When the house of Bernarda falls?
~ Poncia

To have one Michael John LaChiusa show in a season would be a blessing – but two in one season is a godsend. And with the more abstract See What I Wanna See, we now have a more self-sustaining show - Bernarda Alba, currently playing at Lincoln Center.

At first, you may ask how someone could musicalize Lorca’s play about a tyrant of a mother keeping her five daughters locked up inside her house in Spain during the mourning period of her second husband – an act that frustrates the daughters psychologically and, more importantly in context of the story, sexually. But, the question should be, how couldn’t you? LaChiusa has proven that this story can be made even more effective with a little touch of music.

And indeed that is what this show is. Don’t expect the vaudeville of The Wild Party or the operatic arias of Marie Christine. The music of this show, complete with beautifully infectious (though not intrusive) flamenco rhythms, is a way of life.

Graciela Daniele’s direction not only captivates the audience, but is also a cultural journey that successfully compliments the material. Her choreography is made necessary in this piece – and never appears to be “there” for the sake of choreographing a musical. Dance is the lifestyle, as is music. From the opening scenes you forget you are watching some musical, and believe you are witnessing the struggle of a family in a culturally rich community during a devastating time.

Daniele also makes an excellent use of the set, designed magnificently (save for that large door that seems to have been stolen from a Disney theme park – Pirates of the Caribbean maybe?) by Christopher Barreca. The use of chairs as just about everything added a fresh, vibrant touch to the show that kept the action exciting. Toni-Leslie James’ beautiful costumes also added much to the stress of the show (except, once again, Poncia looked like some sort of Pueblo Pirate).

The only wrong this show makes is shining another light onto Bernarda – one that makes us sympathize with her plight. Lorca’s Bernarda does occasionally show a glimmer of sorrow that allows us some insight. For example, she defends her daughter, Martirio, believing every word the girl says. Yes, Bernarda is a wicked woman. But, yes, she is a mother. Letting us, the audience, inside her head does make her less threatening, however this show is also called Bernarda Alba. We deserve to see a more humane Bernarda. It is up to the audience to decide whether or not Bernarda should be seen as human. To me, she should be.

The show, itself, is an essay on the Lorca’s play. It presents us with the themes, and then explains – as opposed to allowing the audience to make complete observations. In “Prayer” we learn what Bernarda is thinking (“You took what you wanted/And then you took more” re: her husband) – then we see how that is a catalyst to force her to suppress her children.

Although Phylicia Rashad isn’t fierce and terrorizing as Lorca’s Bernarda should be, she is maternally terrorizing as LaChiusa requires of his Bernarda. However, there are too many occasions when Rashad loses control of the character, and it turns into something out of a hip-hop film. She had a little too much Harlem sass that, often times, made her lines laughable.

In the Christian world, Bernarda only understands half of what she needs to. She understands the suppression, but not the freedom. Her name, from the name of a saint dealing with love in the world, makes it ironic that she, herself, wants to snuff out such passions. Indeed Rashad’s action throughout the show is to “protect” her daughters from love. From men. From gossip. From passion.

Candy Buckley, as Bernarda’s old maid, is exactly what this production needs to depict the long-term wear and tear caused by Bernarda’s wicked tyranny. If I could point out the true star of this show, it would be Candy Buckley. Each one of Bernarda’s five daughters also does a commendable job, special notice to a rising Nikki M. James, an innocent Judith Blazer, and the physically deformed (with a limp) Daphne Rubin-Vega. That’s not to say Sally Murphy and Saundra Santiago didn’t hold their own.

In all, for the cast, the chemistry is great…but overall they seem to be lacking the ability required to reach those flamenco yelps. More often than not, they cracked – and not in the flamenco way.

The roughest comment I can think of is that the book is lacking the fluid and excitingly haunting movement of the music. But with so many lines borrowed from the original work, this would prove to only be a trivial quibble. Yes, the music works. But more importantly, the musical works.

I can successfully say that Bernarda Alba has been one of my most exciting, enjoyable, and riveting nights at the theatre.

Updated On: 3/9/06 at 12:02 AM

[broadwaybelter]

Posted: 3/9/06 at 12:20am

nice review, glad you had a good time

[WithoutATrace]

Posted: 3/9/06 at 9:55am

Excellent review. I was there last night as well and I went in not knowing what to expect and I ended up LOVING it. For 90 minutes I was completely engaged and mesmerized by the story, the music and the performances. Within the first five minutes, I knew this was something I was going to enjoy. I loved how the flamenco dancing was interwoven in the story and the incorporation of the clapping, snapping, tapping on the wooden stage...it just gave the piece rhythm. I really saw it not as a musical, but more as a play with music. The songs worked well within the piece, but would not be able to be taken out of context - and I definitely heard hints of Marie Christine in there. Special mention to Daphne Rubin-Vega and Nikki M. James (who knew she could dance so well??). They were both perfectly cast. Sally Murphy also has a fabulous voice. If the run wasn't already sold out, I would definitely see it again. Let's hope this show gets recorded. All in all, an excellent night at the theater.
Updated On: 3/9/06 at 09:55 AM

[BSoBW3]

Posted: 3/9/06 at 2:38pm

I am going to try to see the show again soon.

[BSoBW3]

Posted: 3/9/06 at 2:39pm

I have never been so pissed off at an audience in my life when I saw BERNARDA.

I won't even go into everything but I will say this for any one going to see Daphne.

There was a woman and her two daughters. They laughed their way through the show. Their phone went off in the middle (when Martirio fights with Adela).

Finally, at the end the mother (THE MOTHER!) turns to the girls and says, "that was the funniest thing I have ever seen." I wanted to smack her across the face.
__________________

ANYWAY - one thing I forgot to say was the end (I won't ruin it) went on to long. A lot of people on the sides seemed confused and were looking all over the house...thinking they were missing something upstage.

Updated On: 3/9/06 at 02:39 PM

[Pgenre]

Posted: 3/14/06 at 12:10am

I feel I must revive this amazing topic for one specific reason... more must be said about this thrilling show!

I loved BERNARDA ALBA intensely, almost as much as SEE WHAT I WANNA SEE. I'm sure I'll warm to BA even more once the cast recording comes out. I liken BA to MARIE CHRISTINE and SWIWS to THE WILD PARTY in that one is more operetic and artsy, wheras one is more jazzy and fun. I instantly find numerous songs in each LaChiusa score that I immiediately respond to and adore, but I find the true depth of the works on repeated listenings/viewings and I'm sure BA is no exception to this. Nearly a month later I still cannot get "I Can't Hear Him In My Heart" out of my head! Who said MJL doesn't write catchy tunes?!

I, for one, was disheartened that so many critics seem to have failed to grasp what was being done at the Mitzi E. Newhouse (with the obvious exception of Matthew Murray over at ALL THAT CHAT). With the mixed to positive reviews that greeted SEE WHAT I WANNA SEE, I foolishly began to believe that the critics had begun to warm to LaChiusa's style. Or, maybe, perhaps, acknoqledge the fact that he is easily the most prolific creator working in the theatre, whose works are consistently intelligent, thought-provoking and... ok, I'll say it: pretentious. Do they really find his work so pretentious as to not be appreciated? Is intellect a bad thing? Is artistry a negative attribute? Are depth and scope terms not welcomed in the theatre anymore? Is pandering to an audience a good thing? With Brantley only giving good reviews to revivals these days, it seems a sad state of affairs that the most powerful critic in New York refuses to acknowledge good new work on its own terms. He has had two chances this season, and I thought things might be looking up with his somewhat positive review of SWIWS, but he trampled on that notion with another scathing review (along the lines of THE WILD PARTY and MARIE CRHISTINE). What a shame that the most important composer of this generation (or, in my opinion, EVER) is so unappreciated. Thank God for The Public and Lincoln Center and may they continue to fund brilliant productions of this man's genius work.

Well, I've ranted enough. My deespest thanks to Sly for posting such an insightful review. I couldn't have said it better myself!

Lastly and mostly, Here's to MJL and two brilliant, shocking, astounding and thought-provoking shows in one season, each totally different from the other but both of equal quality and craftsmanship. You are an unparalelled genius. Give us more to see!

A Good Nightmare Comes So Rarely,
P genre

Updated On: 3/14/06 at 12:10 AM

[mint0621]

Posted: 3/18/06 at 12:30am

I have to agree with all the great things that have been said about this amazing, under-the-radar show...WOW! I had no idea that "Mrs. Cosby" could sing! And such stern, heartless characteristics from someone who played such a loving mother on TV. The story was riveting; the music was brilliant, woven with such intracacies that sometimes it's impossible to notice when the women transfer from speaking to singing. Daphne also sounds so completely amazing as well; I also enjoyed Pontcia's performance, as well as the wonderful free flamenco dancing that played such an interesting contrast to the rigidity of the family structure.

Never had 90 minutes passed by so fast....I was on the edge of my seat, and had no idea what was coming up next in the story, and the ending completely astounded me. Everyone needs to see this show; there were about 25 empty seats (in a small theater), more than I expected. And I saw someone who grabbed a student rush ticket 30 minutes before the show.

I was surprised to see so many senior citizens who went to see this show, as they were walking out, I could hear that many of them did not like the show. No one clapped during the show as well; I think partly because things were so tense, it was hard to clap for a great solo.

Here's to intellectual amazing theater!

[FosseBoi]

Posted: 3/18/06 at 2:03am

Could anyone tell me about Daphne's performance? I'm a big fan and I'm curious of how shes doing(vocally and acting wise)...

[BSoBW2]

Posted: 3/18/06 at 2:05am

Vocally, she's pretty good.

I'm not a fan of her voice, but it works EXTREMELY well in this show.

Her acting is sort of hit and miss. She does well when she's singing. But some of her speaking lines don't work so well. It's not that she doesn't understand her character. The lines just come out awkwardly. Like Acting 101.

But overall, she does a great job as Martirio.

[FosseBoi]

Posted: 3/18/06 at 2:08am

Thank you!

[wickedrentq]

Posted: 3/18/06 at 2:08am

I saw the show Thursday night, and like others, really enjoyed it. I got a little confused at the end, and I felt that there were a little flawed aspects, but overall I really liked it.

Much has already been said that there's no need to repeat, but I did want to add just how amazing I think the orchestrations and orchestra were. It was great being able to see them, and sometimes the score seemed so controlled by the instruments...if that makes sense. Like I felt, not only because I'm such a pit geek/worshipper, but generally that the instruments contributed so much to the tone and play overall.

Moreover, there were quite a few times during the course of the show that I would be very invested in the action on the stage and certain melodies would be played in the orchestra that just...sounded and felt so powerful that my attention was just drawn there from the action of the play. Again, not like I was consciously watching orchestras like I may on occasion, but just...it just...caught me. Once or twice Joseph Gottesman had gorgeous viola solos that drew my attention, but mostly the amazing woodwind melodies written by Mr. LaChiusa and fantastically played by Sarah Davol seemed to...hold power. Very early on Ms. Davol played a gorgeous oboe melody that drew my attention to her and away from the actors. This happened several times over the play, mostly with the oboe and English horn, a little bit of the clarinet too.

It may just be because I'm a clarinetist that I find playing the double-reed instruments so hard, but to me the sounds that were created on particularly those instruments were just incredible. And the beautiful way all of the woodwinds were integrated into the score...it was just fantastic.

Updated On: 3/18/06 at 02:08 AM

[BSoBW2]

Posted: 3/18/06 at 2:16am

To clarify my BA review:

LaChiusa did a very risky thing (like THAT'S a surprise!). He increased the difficulty of playing Bernarda Alba.

He gave Bernarda two songs that really let us sympathize with her - "PRAYER" and "THE SMALLEST STREAM." (Two beautiful songs, I may add!)

What happens is, and I think it wasn't a great choice - at the end of "PRAYER" Bernarda (or Phylicia) breaks down and cries.

Fine.

However, it weakens her position as tyrant of the household IF anyone sees her. I think they sort of do, but she covers it. However, the audience isn't as afraid of her anymore.

This increases Phylicia's job. She has to be THAT much MORE terrorizing in order to scare her daughters - and convince the audience hwo scary she is.

Unfortunately, she doesn't have it in her to do so.

[muscle23ftl]

Posted: 3/18/06 at 3:31am

Great review. I agree 100% with The Pajama Game review, although i wouldn't recommend it. I'd say, save your money, and it's sold out anyways! But i agree completely with everything Bso says.

Updated On: 3/18/06 at 03:31 AM

[Wanna Be A Foster]

Posted: 3/18/06 at 6:35am

"If the run wasn't already sold out, I would definitely see it again."

I was there Thursday night on a comp ticket through a papering service, and the theater still had plenty of empty seats. You shouldn't have trouble seeing it again.

I agree that Daphne shines. It's great to see her getting the chance to really show off her acting chops.

Updated On: 3/18/06 at 06:35 AM

[melissa errico fan]

Posted: 3/18/06 at 6:41am

Yeah, usually Lincoln Center will claim that their shows are sold out until the less-than-favorable reviews are printed. After that, they release the ton of house seats they were holding on the off-shot it would get favorable reviews and it becomes very easy to get a ticket.

I've seen ALBA on TKTS every night this past week, on TDF and on several papering services since it officially opened last week.

[neomystyk29]

Posted: 3/18/06 at 8:39pm

I saw the show at today's matinee. Didn't want to start a new thread so I thought I'd post another review on this one.

The performances:

Daphne Rubin-Vega: I went into the show because it was Lachiusa and overlooking the fact that this lady was in it. I never really enjoyed her work in RENT but I was willing to give her a second chance. Thank God I did. Daphne was perfect for this role. Her acting was strong, and even more fluid while she was singing. While I'm still not a huge fan of her voice it could not have been more suited to the role and to the show. Overall one of the better performances of the night.

Nikki M. James: This was the performance that brought me into the show. Unfortunately it only really came midway through the second act. She drew me in, kept me there, gave me chills, amazed me, and made me feel more than anyone else on the stage. Her vocals were perfection. She belted some powerful notes without going over the top and brought herself into tender moments just as poignantly. Her emotions were perfectly conveyed and her acting was excellent. Perhaps most of all, her dancing was HOT!

Sally Murphy: I would have loved her to have more to do. Her innocence, and kindness were a bright light in the show. Her voice was one of the few that was spot on, even if it was overpowering at certain points during the group numbers.

The other 2 daughters Saundra Santiago and Judith Blazer, while very good in the acting department left me waiting for a strong vocal or a true moment. It never came. Blazer was the better of the two in the acting category as she was very natural and had perhaps the least to work with. However, I found myself wishing she didn't have a song. Santiago was only slightly better vocally. I didn't feel like she had the pipes to handle any of her musical moments.

Candy Buckley: Excellent. She played an excellent role and covered all her bases with what seemed like ease. Her song Thirty Odd Years was one of the better songs in the show because of the moment she created with it. Brilliance. She managed to find the tender depth of an otherwise easy going and rock solid poncia. Very good.

Phylicia Rashad: MISCAST! Did anyone else pick up on an American Southern accent on her? My family and I deffinitely did...and a lisp. Her voice seemed muffled and at times strained. Although she did much better than I thought she would vocally. Not the weakest link in that department. She just acted as though she was back as Mrs. Huxtable, but rather, Mrs. Huxtable set in Mobile Alabama. It was very bizarre. Sometimes she would be phenomenal though. In the early part of the show before she had a big scene she was excellent. She was just as good in her scenes with Pontia. With her children and elsewhere, though, she was a trainwreck. Overall very dissapointed in her performance.

Other notable things:
Lighting was excellent. As far as the music goes, some of it was boring, and dragged out however some of it rivaled Lachiusa's best. I'm sure I'll fall very deeply in love with the show when I am able to listen over and over again to a recording however I didn't love it this time. I barely enjoyed it. Had it not been for Nikki James, Candy Buckley, and Daphne Rubin-Vega, I probably would not have.

[neomystyk29]

Posted: 3/18/06 at 9:33pm

Forgot to add that I had the Maria Josepha understudy. She was good enough. The character seemed like a throw away however, somewhat bizarre armed with a only few deeply thought provoking moments shrouded in senility.

[TheEnchantedHunter]

Posted: 3/19/06 at 1:01am

"There was a woman and her two daughters. They laughed their way through the show. Their phone went off in the middle (when Martirio fights with Adela).Finally, at the end the mother (THE MOTHER!) turns to the girls and says, "that was the funniest thing I have ever seen." I wanted to smack her across the face."

At the performance I attended, the audience tittered (and understandably)nearly erupted into laughter at various points throughout the evening. But as the house was 1/3 empty, there wasn't enough energy to sustain the hilarity.


Vivian Darkbloom
Ramsdale, New England

[BSoBW2]

Posted: 3/19/06 at 1:10am

neo - The role of Maria Josepha is not a big role. She even gets more to do in LaChiusa's show than in the original work!

I was sad they took out her lamb.

Judith Blazer had the most of the flamenco style singing. I thought she did a great job with it - but I don't really like Magdalena, the character.

AND I went back the weekend after I saw the show. Rush was out.

[RentBoy86]

Posted: 3/19/06 at 1:31am

I'm so jealous of you all. I wish I could see this show, I'm just glad its getting recorded. Nikki M. James is amazing in All Shook Up...its good to see her doing some more "serious" theater.

[Blue J]

Posted: 3/19/06 at 1:39am

How is Nikki James (Adela) in Bernarda Alba?

[BSoBW2]

Posted: 3/19/06 at 1:41am

She's good. She has been improving in the role, I know.

[neomystyk29]

Posted: 3/19/06 at 11:33am

Blue J -

She saved the show for me.

[mint0621]

Posted: 3/19/06 at 11:40am

Nikki James has an amazing flamenco solo that she pulls off beautifully. She also has a wide range of emotion in the show and she was mesmerizing on stage. I couldn't imagine her in ASU :) (I didn't see ASU). I was watching her on stage, and made me look at her bio again, and I thought "She was in ASU??" Seems such polar opposite to her role in Bernarda Alba. I guess that just shows her versatility.

Did anyone else notice the cute cellist? I think his name was Ben :p

[Bwayfan]

Posted: 3/19/06 at 12:45pm

I get to see the show next week. I am surprised to hear some audience members laughing. I thought the show was a dark tragedy.